A reduced instrumentation version of the largest of Reicha's two monumental works for 3 wind bands. This performing edition calls for 14 musicians (or more if parts are doubled) as follows: 1 piccolo, 2 oboes, 2 B-flat clarinets, 2 bassoons, 2 horns in F, 2 trumpets in C (or B-flat), 1 double bass, 1 field drums and 1 bass drum. If you can't find enough players for the original instrumentation, perform this version because the music is very good and deserves to be heard. We also publish the original full instrumentation [1114A,B]

The largest of Reicha's two monumental works for 3 wind bands. Here's the sound that forecasts Berlioz "Symphonie funébre et trionfale". This performing edition calls for 46 musicians (or more if parts are doubled) as follows: 3 piccolos, 6 oboes, 6 B-flat clarinets, 6 bassoons, 6 horns in F, 6 trumpets in C (or B-flat), 3 double basses, field drums and 4 cannon(!) (optionally bass drums for indoor performance), the latter optionally playable by bass drums for indoor performance.

A reduced instrumentation for one of Reicha's two monumental works for 3 wind bands. The reduced instrumentation calls for 13 musicians (or more if parts are doubled) as follows: 2 oboes, 2 B-flat clarinets, 2 bassoons, 2 horns in F, 2 trumpets in C (or B-flat), 2 double bass, 1 field drums and 1 bass drum. The music is very good and deserves to be heard. We also publish the full, original instrumentation in a performing edition [1114A,B].

One of Reicha's two monumental works for 3 wind bands. Here's the sound that forecasts Berlioz "Symphonie funébre et trionfale". This performing edition calls for 43 musicians (or more if parts are doubled) as follows: 6 oboes, 6 B-flat clarinets, 6 bassoons, 6 horns in F, 6 trumpets in C (or B-flat), 3 double basses, field drums and 4 cannon(!), the latter optionally playable by bass drums for indoor performance.
The music is very good and deserves to be heard. We also publish a version for reduced instrumentation [1114C]

Composed to provide some practice in reading and playing sub-metrical rhythms: including 8ths, 16ths, triplet 8ths and a few triplet quarter notes. All rhythms appear on the beat and in syncopated form. The four parts swap soprano, alto, tenor and bass roles. The ranges are from low B-flat (B flat 2) to F above middle C (F4). The music follows a 16 measure blues progression throughout. Far from being a dull study piece, it presents a lively, "hot" result.