This exuberant concert-opener for windband encapsulates the Spanish spirit perfectly.

Eritaña – an inn situated just outside the customs gates in Seville, according to the piano score - is the final work in 'Iberia', the 80-minute epic for piano written by Albeniz. Eritaña is a joyful and quaint romp, at once dancelike but with an air of mystery in

This exuberant concert-opener for windband encapsulates the Spanish spirit perfectly.

Eritaña – an inn situated just outside the customs gates in Seville, according to the piano score - is the final work in 'Iberia', the 80-minute epic for piano written by Albeniz. Eritaña is a joyful and quaint romp, at once dancelike but with an air of mystery in its use of whole-tone scales. The movement is a culmination of everything Albéniz had written so far, drawing on both the rich culture of dance and song in Spain as well as the in-vogue Impressionist movement in music. To match the raw sounds of pastoral Spain, the double-reed section and percussion section have both been expanded, with a cor anglais, contrabassoon, tam-tam, and castanets making an appearance.

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Percussion: Bass Drum, Castanets, Cymbals, Snare Drum, Triangle, Tambourine

Eight mazurkas arranged for windband - Chopin at his best!

A mazurka is a traditional Polish folk dance. Mazurek, or mazurki in the plural, come from the Mazovia region of the country where Chopin was born, and the fifty-odd he composed were in respectful homage to his motherland. Every mazurka is designed for dancing, hence the similarity in form

Eight mazurkas arranged for windband - Chopin at his best!

A mazurka is a traditional Polish folk dance. Mazurek, or mazurki in the plural, come from the Mazovia region of the country where Chopin was born, and the fifty-odd he composed were in respectful homage to his motherland. Every mazurka is designed for dancing, hence the similarity in form and structure in the music, but Chopin sought to add to the lyricism and Romanticism by increasing the chromaticism and harmonies used. A great collection of dances with a range of emotions, from sadness through to celebration.

This is the first set of four, and contains a full score and parts to Nos 1, 3, 5, 6, 7, 10, 11, 12.

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Percussion instruments: bass drum, cymbals, snare drum, triangle, tambourine, glockenspiel

A compact yet sprawling work for windband that is half arrangement, half brand-new composition, from George Owen.

Cesar Cui was an army tactician in the Russo-Turkish war of 1877 with a speciality in fortifications. Musically, he was one of The Five, a group of Russian composers who brought nationalist elements to the fore in their music. Along

A compact yet sprawling work for windband that is half arrangement, half brand-new composition, from George Owen.

Cesar Cui was an army tactician in the Russo-Turkish war of 1877 with a speciality in fortifications. Musically, he was one of The Five, a group of Russian composers who brought nationalist elements to the fore in their music. Along with Mussorgsky, Balakirev, Rimsky-Korsakov, and Borodin, Cui wrote music that was in opposition to the highly-Westernised music of Tchaikovsky and other Central- and Eastern-European composers like Liszt and Dvorak. Instead, their music would seek to portray the Russian landscape, the people, and the traditions. 'Prelude in G minor' by Cui is a curious piece only two minutes in length, but with a great variety of musical elements – an impressionist snapshot of a far-off dusty plain, like Borodin's famous 'In The Steppes Of Central Asia', with a more regal poise. The 'Prelude' contains three underdeveloped musical ideas in particular: a winding melody based primarily off the plaintive Dorian mode (a sad-sounding scale); a short Phrygian melody (another minor scale, but with an unexpected flattened note that jars against the base note of the scale); and a brief chorale.

In George Owen's following 'Battle', the opening winding melody finds itself describing galloping horsemen, heroic warriors, ecstatic villagers, and weary travellers; the Phrygian melody is note music for a battle that rages in the middle.

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Percussion instruments: bass drum, cymbals, snare drum, triangle, tambourine, tenor drum, tam-tam, glockenspiel

This short exuberant concert-opener for windband encapsulates the Spanish spirit perfectly.

This snappy song comes from a two-act Andalusian opera, La Vida Breve, written by de Falla in 1904-05. Originally a numbers opera, Debussy helped de Falla transform the work into a free-flowing exhibition of vivid colour and mature orchestration. This

This short exuberant concert-opener for windband encapsulates the Spanish spirit perfectly.

This snappy song comes from a two-act Andalusian opera, La Vida Breve, written by de Falla in 1904-05. Originally a numbers opera, Debussy helped de Falla transform the work into a free-flowing exhibition of vivid colour and mature orchestration. This movement itself is merely entitled Danza but was famously transcribed for violin by Fritz Kreisler and retitled as Danse Espagnole. Instantly recognisable, the work utilises a great deal of local flavour, with proud rhythmic introductions and graceful flowing melodies. An expanded percussion section brings even more shades of light and dark into the arrangement for windband by George Owen.

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Percussion instruments: Bass Drum, Cymbals, Castanets, Tambourine, Tam-tam, Triangle, Floor Tom, Woodblocks, Glockenspiel

Three short pieces that transport the windband to Bohemia courtesy of Dvorak's pastoral skill.

The Legends were ten small-scale pieces for piano duet written (and later orchestrated) in the first half of 1881 by Dvorak, the Czech composer. Pastoral, subtle, and refined - but with a hint of Slavic hardness - the Legends were fondly admired by Brahms

Three short pieces that transport the windband to Bohemia courtesy of Dvorak's pastoral skill.

The Legends were ten small-scale pieces for piano duet written (and later orchestrated) in the first half of 1881 by Dvorak, the Czech composer. Pastoral, subtle, and refined - but with a hint of Slavic hardness - the Legends were fondly admired by Brahms and von Bulow. They are the epitome of Czech music, far removed from the stringency of German sound production, and imbued instead with a fleeting romanticism. As written by critic Eduard Hanslick, the dedicatee: "The music flows up through the Legends from crystal-clear, deep waters, refreshing and invigorating. What is it about Dvorak's music that is so appealing to us and, at the same time, stays us with its soft, warm hand? Its sense of immediacy, its wholesome freshness."

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Percussion: Bass Drum, Cymbals, Triangle

Eight short folksongs intertwined into four movements in an adventure across the snowy and windswept annuls of Norwegian folklore.

Grieg is Norway's most famous composer, and well-known for many of his works. Proudly nationalist, Grieg sought inspiration from the rich folksong culture and transcribed melody after melody from the length and breadth

Eight short folksongs intertwined into four movements in an adventure across the snowy and windswept annuls of Norwegian folklore.

Grieg is Norway's most famous composer, and well-known for many of his works. Proudly nationalist, Grieg sought inspiration from the rich folksong culture and transcribed melody after melody from the length and breadth of the kingdom, often adding his own creative flair as he went – turning previously simple snippets of music into a smorgasbord of short but richly-harmonised works for piano. Much of what Grieg wrote comes from specific regions and had specific purposes and he alludes to this in the piano score.

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Percussion instruments: bass drum, cymbals, triangle

Three great little pieces well-suited for windbands thanks to their fantastic character.

It's almost as if Moszkowski dreamt of a multitude of instruments as he was sat at the piano composing this music, for the three pieces are so full of character, despite their brevity, that they deserve the full arranging treatment. The Scherzino is brisk, its

Three great little pieces well-suited for windbands thanks to their fantastic character.

It's almost as if Moszkowski dreamt of a multitude of instruments as he was sat at the piano composing this music, for the three pieces are so full of character, despite their brevity, that they deserve the full arranging treatment. The Scherzino is brisk, its playful nature highlighted by the inclusion of a xylophone. A more brooding inner section is played first by the brass and then the woodwind before the joyous music returns. Romance sans Paroles is a tender lovesong that shows off the softer side of the windband. Inquietud, meaning 'worry', is an antsy finale full of sharp crescendos and diminuendos. The full transposing score and all instrumental parts are ready to print - no additional work required!

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Percussion: Bass Drum, Cymbals, Xylophone

The most famous movement from any string quartet, now superbly arranged for windband by George Owen.

Ravel's sole String Quartet is one of the most popular in the genre, highly-accessible for the listener, well-written for the players, and well-crafted by anyone who looks under the hood at the inner workings. Overall, the string quartet is a hugely

The most famous movement from any string quartet, now superbly arranged for windband by George Owen.

Ravel's sole String Quartet is one of the most popular in the genre, highly-accessible for the listener, well-written for the players, and well-crafted by anyone who looks under the hood at the inner workings. Overall, the string quartet is a hugely enjoyable experience.

The second movement is marked 'Assez Vif', or 'Quite lively'. Ravel's Basque heritage really shines though in this movement in the percussive nature of the pizzicatos and crossrhythms. A more plaintive middle section slowly transforms itself into a slow waltz then comes to a halt before the snappy opening section returns for the final time.

This arrangement takes great pleasure in expanding the wealth of colours in the string quartet sound to the high-definition soundworld of a windband, and features a variety of instruments, including five woodblocks.

Standard instrumentation: 3[1.2.picc] 2 2 5[ebsop.1.2.3.bcl] 4[a.a.t.b] 2 3 3 1 1 tmp+3

Percussion Instruments: Bass Drum, Suspended Cymbal, Snare Drum, Tenor Drum, Tam-tam, Triangle, Tambourine, Low Bell or Tubular Bells, Woodblocks, Xylophone, Glockenspiel

No concert is complete without a little bit of Tchaikovsky at his best - three gorgeous larger-scale movements that are full of passion and wit.

Pyotr Ilyich Tchaikovsky is one of the most popular composers of all time, his unique sound and breadth of emotion combining with his innate musical skill to create a significant number of masterpieces.

No concert is complete without a little bit of Tchaikovsky at his best - three gorgeous larger-scale movements that are full of passion and wit.

Pyotr Ilyich Tchaikovsky is one of the most popular composers of all time, his unique sound and breadth of emotion combining with his innate musical skill to create a significant number of masterpieces. His orchestral suites were a joyful diversion from the serious symphonies he had been writing. With all the skill and craftsmanship fully intact, Tchaikovsky was clearly letting his hair down with these suites. The Orchestral Suite No. 1 is perhaps his best, and this collection of three movements has been carefully selected and arranged. The Intermezzo (originally the third movement) has a sorrowful start, but it transforms into a joyous movement thanks to the melody first portrayed in the tenor and baritone saxophones. The Marche Miniature (originally the fourth movement) predates the famous triple flute texture of the Nutcracker Suite by some years, and is clearly successful enough that Tchaikovsky reused the idea in his ever-popular ballet music. The whole movement is light and toy-like, omitting the lower, slower, and larger instruments of the band. The Divertimento (originally the second movement) is a true masterclass in composition, featuring a great melody in the middle section that simply consists of a crotchet scale.

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Percussion instruments: Bass Drum, Cymbals, Snare Drum, Triangle, Tambourine, Xylophone, Glockenspiel

An earnest but melancholic dance for string orchestra by the famous French composer.

Debussy was a French composer active at the end of the 19th century and start of the 20th century famous for his Impressionist compositions. He wrote Suite Bergamasque at the age of 28 but refused to publish it for another 15 years, citing the lack of his mature

An earnest but melancholic dance for string orchestra by the famous French composer.

Debussy was a French composer active at the end of the 19th century and start of the 20th century famous for his Impressionist compositions. He wrote Suite Bergamasque at the age of 28 but refused to publish it for another 15 years, citing the lack of his mature style in the suite. However, it has become one of the most popular works for piano, due in part to the third movement, Clair de Lune. The Passepied brings the suite to a close. A Passepied is a rustic dance from the Breton region of France that possibly originated in the 16th century. Over the centuries it was appropriated by court composers like Rameau and Lully, and by the 18th century was known as a fast dance ‘approaching frivolity and without the eagerness, anger, and heat expressed by the Gigue’. The Passepied became popular as a musical number in the 19th and 20th century and composers like Stravinsky and Prokofiev wrote some.

Debussy’s Passepied has a melancholic air to it thanks to his use of modes and the F# minor tonality. The violins and violas share the tune at the opening with cellos and basses playing a fast staccato accompaniment. A tutti dance motif in E major leads to a serene middle section in a distant Ab major, before the piece returns to the dance motif and then the opening statements again.

An original composition for string orchestra by George Owen.

These three postcards are inspired by that great city on the water, Venice. The first movement shows off the bustling charm of the city centre, where tourists and pigeons alike flock to the many coffeehouses. The opening section features three graceful melodies in G major and D major: the

An original composition for string orchestra by George Owen.

These three postcards are inspired by that great city on the water, Venice. The first movement shows off the bustling charm of the city centre, where tourists and pigeons alike flock to the many coffeehouses. The opening section features three graceful melodies in G major and D major: the first charismatic, the second impassioned, the third stately; before the first of these is developed in both E minor and B minor. The first two melodies return to a triumphant ending.

The second movement sets a serene scene of the gondoliers at dawn, with a lilting punting rhythm in low strings and a beautiful melody in violins inspired by Dvorak’s fantastic String Serenade. The ebb and flow of the tidal waters is portrayed by using five beats in the bar and by the smooth harmonic shifts. The final Db major chord is held, with the violins launching effortlessly into the final movement.

The masked ball is a major cultural event on any Venetian’s social calendar and is a chance to let one’s hair down. The quick waltz-like feel is wrongfooted gleefully with occasional bars of only two beats. A whirlwind of exuberance and jubilation brings the trio of postcards to a close.

Seven sublime movements for full orchestra, each inspired by the island and people of Java, Indonesia.

Leopold Godowsky, the famous piano virtuoso, visited Indonesia (then a Dutch colony) in the early 1920s on a Dutch steamship, and was bewitched by what he saw in lands that were more foreign than can be found today. Sailing to the other side of

Seven sublime movements for full orchestra, each inspired by the island and people of Java, Indonesia.

Leopold Godowsky, the famous piano virtuoso, visited Indonesia (then a Dutch colony) in the early 1920s on a Dutch steamship, and was bewitched by what he saw in lands that were more foreign than can be found today. Sailing to the other side of the world a hundred years ago was a trip of a lifetime with the time spent aboard giving ample opportunity for reflection on his experiences. Godowsky did not start composing his Java Suite until back home, perhaps wishing to relive and recant his vivid memories into a show for his audiences, and the suite is hyper-romantic, impressionist and fiendishly difficult too.

Godowsky's detailed programme notes on each movement are available in the Programme Notes document found elsewhere on this website.

Instrumentation: 3[1.2.3/picc/alto] 3[1.2.cor] 3[1.2.3/ebsop/bcl] 3[1.2.cbsn] 4 3 3 1 tmp+2 cel hp strings

A short Russian romantic piece for cello quartet.

Arensky, whilst no longer internationally recognised, was a key Russian composer of the late 19th century. After studying in Saint Petersburg with Rimsky-Korsakov, he became a professor at the Moscow Conservatory, teaching a new generation of composers like Scriabin and Rachmaninoff. In his lifetime

A short Russian romantic piece for cello quartet.

Arensky, whilst no longer internationally recognised, was a key Russian composer of the late 19th century. After studying in Saint Petersburg with Rimsky-Korsakov, he became a professor at the Moscow Conservatory, teaching a new generation of composers like Scriabin and Rachmaninoff. In his lifetime he suffered criticism that he did not establish his own style of composing, preferring instead to emulate his idol, Tchaikovsky. However, he is undergoing a renaissance of sorts and more of his music is being recorded.

His chamber music is highly melodic, and this Chanson Triste is no exception. Originally for cello and piano, the solo part has been divided equally among the four cellists, with each taking turns to express the heartfelt music.

Instrumentation: 4 cellos

A prelude and fugue from the Well-Tempered Clavier now arranged for six cellos.

J.S. Bach is one of the most significant composers that Western classical music has ever known. A hugely prolific and talented musicsmith, Bach wrote extensively for a number of instruments whilst under the employ of courts and churches in modern-day Germany. His two

A prelude and fugue from the Well-Tempered Clavier now arranged for six cellos.

J.S. Bach is one of the most significant composers that Western classical music has ever known. A hugely prolific and talented musicsmith, Bach wrote extensively for a number of instruments whilst under the employ of courts and churches in modern-day Germany. His two volume ‘A Well-Tempered Clavier’ was a revolutionary set of preludes and fugues, two of each in every major and minor key. In his time, our modern tuning system had only just started to spread through Europe, and being able to perform in strange keys with lots of accidentals was novel. Bach, in his typical style, shines when faced with contrapuntal challenges, and the ‘48’, as the two volumes are sometimes called, are a fantastic record of his technical achievements in composition.

The two movements in this arrangement for six cellos are both in B minor, a brooding key for cellos, but Bach utilises the relative major key of D major to bring a bright sound to the proceedings. Sixth cello is required to detune their instrument in order to play the occasional low B. Although they share a key, the prelude and fugue in this arrangement are actually taken from different volumes, but are of a very complementary nature.

Instrumentation: six cellos

Godowsky's impressive piano adaption of Bach's famous Suite for Solo Cello, now arranged for cello ensemble.

Bach's cello suites are some of the greatest works written for the instrument. They have been adapted and arranged for a wide range of instruments and ensembles, including an impressive rendition by 20th-century virtuoso pianist-composer

Godowsky's impressive piano adaption of Bach's famous Suite for Solo Cello, now arranged for cello ensemble.

Bach's cello suites are some of the greatest works written for the instrument. They have been adapted and arranged for a wide range of instruments and ensembles, including an impressive rendition by 20th-century virtuoso pianist-composer Godowsky. It is Godowsky's arrangement that has been (re-)arranged for cello ensemble; the rich soundworld in the six movements lends well to the warm blend of a cello ensemble, and the might of massed cellos contributes greatly to the climaxes.

Instrumentation: eight cellos. The eighth cello has the opportunity of detuning their C string to A if desired.

A quick concert-closing finale from the Classical master.

Haydn, commonly known as ‘the Father of the String Quartet’, was a vital figure in early Classical-era music. Hugely productive, he wrote 104 symphonies and numerous instrumental works, including approximately 62 piano sonatas. This Presto forms the second and final movement of Sonata No. 51

A quick concert-closing finale from the Classical master.

Haydn, commonly known as ‘the Father of the String Quartet’, was a vital figure in early Classical-era music. Hugely productive, he wrote 104 symphonies and numerous instrumental works, including approximately 62 piano sonatas. This Presto forms the second and final movement of Sonata No. 51 in D major, an unusual sonata due to the missing middle movement. It was written in 1794 whilst Haydn was in London, and perhaps the change in environment of moving from country estate to bustling city led him to experiment with the sonata form that had served him so well so far. The Presto is typical Haydn, with sweeping opening statements followed by quick-witted harmonic shifts.

This version for cello octet has been transposed down to Bb major to facilitate the higher passages.

The most famous movement from any string quartet, now superbly arranged for cello octet by George Owen.

Maurice Ravel was a French composer of Basque origin. Famous for his 'Bolero' among other compositions, Ravel was one of the leading composers in Europe and wrote in a largely impressionist style – though he disliked the term.

His sole String

The most famous movement from any string quartet, now superbly arranged for cello octet by George Owen.

Maurice Ravel was a French composer of Basque origin. Famous for his 'Bolero' among other compositions, Ravel was one of the leading composers in Europe and wrote in a largely impressionist style – though he disliked the term.

His sole String Quartet is one of the most popular in the genre, highly-accessible for the listener, well-written for the players, and well-crafted by anyone who looks under the hood at the inner workings. Overall, the string quartet is a hugely enjoyable experience.

The second movement is marked 'Assez Vif', or 'Quite lively'. Ravel's Basque heritage really shines though in this movement in the percussive nature of the pizzicatos and crossrhythms. A more plaintive middle section slowly transforms itself into a slow waltz then comes to a halt before the snappy opening section returns for the final time.

One of the most gorgeous movements of orchestral music from the Russian master, now for cello octet

Pyotr Ilyich Tchaikovsky is one of the most popular composers of all time, his unique sound and breadth of emotion combining with his innate musical skill to create a significant number of masterpieces. His final symphony is one such masterpiece,

One of the most gorgeous movements of orchestral music from the Russian master, now for cello octet

Pyotr Ilyich Tchaikovsky is one of the most popular composers of all time, his unique sound and breadth of emotion combining with his innate musical skill to create a significant number of masterpieces. His final symphony is one such masterpiece, with a huge range of emotion and drama throughout the work.

The second movement is in a beguiling 5/4, dancelike but unsettling too, and highly melodic throughout. The first section is in a joyful D major, though the melancholic undertones of the symphony come through in the middle section in B minor. Yet, a constant pedal on D keeps the middle section anchored and the happy first section returns and brings the piece to a gentle close.

The famous Christmastime carol in a new arrangement for four cellos.

Philip Heseltine was a British composer and music critic who wrote music under the pseudonym Peter Warlock. He had strong interests in Elizabethan music as well as Celtic culture thanks to his Welsh heritage, and a move to Ireland to avoid conscription in WWI provided a burst of

The famous Christmastime carol in a new arrangement for four cellos.

Philip Heseltine was a British composer and music critic who wrote music under the pseudonym Peter Warlock. He had strong interests in Elizabethan music as well as Celtic culture thanks to his Welsh heritage, and a move to Ireland to avoid conscription in WWI provided a burst of creativity.

Bethlehem Down, in true Warlock fashion, was written for a Daily Telegraph carol competition in the hope that the prize money could be put towards drinking money. It is an evocative and plaintive chorale with four verses by Bruce Blunt depicting the scene of Jesus’ birth in Bethlehem. This arrangement for cello quartet utilises three different musical textures to symbolise the textual content of the original.

Instrumentation: 4 cellos

Four quirky miniatures, each describing a winter's garden and composed for solo bassoon by George Owen in January 2021.

In 2020-21, I was grateful to spend the winter holidays watching the wildlife in the garden of my parents’ house. I chose to write a series of miniatures for the most characterful of instruments, the bassoon. The first movement

Four quirky miniatures, each describing a winter's garden and composed for solo bassoon by George Owen in January 2021.

In 2020-21, I was grateful to spend the winter holidays watching the wildlife in the garden of my parents’ house. I chose to write a series of miniatures for the most characterful of instruments, the bassoon. The first movement uses the chilly key of D minor to convey the scene in wintertime and juxtaposes the warmth of the lower register of the bassoon (my heated indoor position) with the cold exterior in the highest register of the bassoon. The second movement demonstrates the agility of the bassoon, both in the rapid tonguing of the opening and the angular motion of the smoother middle melody. The third movement is very static and is centred around the note A. The final movement is very excitable through its regular repetition of an oompah bassline and its syncopated melody, though a gentler 5/4 melody in the middle tries to temper that somewhat.