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Sym­pho­ny No. 100, “Mil­i­tary”, II. Alle­gret­to, by Joseph Haydn, mod­ern edi­tion for wind ensem­ble by David Whitwell. The arrange­ment of the sec­ond move­ment for band by the com­pos­er him­self was done on Eng­lish paper and sur­faced dur­ing the 1980s in a pri­vate col­lec­tion in Swe­den.

Luigi Casamorata, Armonia for wind ensemble

Armo­nia di media dif­fi­cul­ta, Con­cert Piece of Medi­um Dif­fi­cul­ty by Lui­gi Fer­di­nan­do Casamora­ta (1807–1881), mod­ern edi­tion by David Whitwell (1937–).

Francesco Bac­cheri­ni [ear­ly 19th cen­tu­ry], Armo­nia, for Solo Flute, 2 solo clar­inets, tut­ti clar­inets, 2 bas­soons, trom­bone. This score is three move­ments long and found in the Bib­liote­ca Musi­cale Greg­giati in Oes­tiglia, Italy.

Brahms Begräbnisgesang

Begräb­nis­ge­sang, Op. 13, by Johannes Brahms, mod­ern edi­tion for cho­rus and wind ensem­ble by David Whitwell. Clara Schu­mann said of this com­po­si­tion that it was “most glo­ri­ous.”

Biem Abschied zu sin­gen, op. 84, by Robert Schu­mann, mod­ern edi­tion for voic­es and wind ensem­ble by David Whitwell: a warm and pas­sion­ate com­po­si­tion which swelled from the composer’s heart.

Ponchiel­li was a famous nine­­teenth-cen­­tu­ry Ital­ian opera com­pos­er whose opera, La Gio­con­da, with its famous “The Dance of the Hours,” is still in the inter­na­tion­al reper­to­ry. He also served as the con­duc­tor of the Cre­mona Civic Band, for whom he com­posed more than sev­en­ty orig­i­nal works and an equal num­ber of tran­scrip­tions.

This won­der­ful, roman­tic com­po­si­tion by the nine­­teen-year-old Bach was writ­ten upon the depar­ture of his elder broth­er, Johann Jacob Bach, to join the army of King Carl XII of Swe­den as an oboist. It is a rare pro­gram­mat­ic work for which Bach sup­plied the indi­vid­ual titles.

Car­navale di Venezia Amil­care Ponchiel­li (1834–1886) Mod­ern edi­tion by David Whitwell (1937–) Date: unknown Instru­men­ta­tion: Con­cert Band Dura­tion: 9:00 Lev­el: 5

The extra­or­di­nary Cha­conne exists as the fifth move­ment in an auto­graph Par­ti­ta for solo vio­lin, dat­ing from 1720. Like some oth­er ear­ly works of Bach, it is often Roman­tic and chro­mat­ic.

Chant de la Bataille d’Austerlitz (c. 1805) by Pedro Éti­enne Solère, mod­ern edi­tion for wind ensem­ble by Craig Dabel­stein.
Avail­able as part of Maxime’s Music’s series of com­po­si­tions inspired by Napoleon.