Concertino for Clarinet - Franco Cesarini

Concertino for Clarinet and Wind Orchestra was commissioned by the Swiss Wind Band Association (SBV) to celebrate the "Year of the Clarinet 2015". In three sections, separated by cadenzas for the soloist, the work explores all aspects and characteristics of the clarinet. It includes virtuoso elements and dialogues between the other winds, as well as a beautiful slow movement, which makes this piece a musically challenging yet accessible piece for any audience.

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Concertino for Clarinet & Wind Band - Thomas Asanger

Concertino for Clarinet and Band - Frank Bencriscutto

Concertino for English Horn and Band - Gaetano Donizetti

Concertino For English Horn and Wind Ensemble - Geert Brouwers

Concertino for Flute - Cécile Chaminade

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Concertino for Horn - Jan van der Waart

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Concertino for Marimba and Band, Op. 21b - Paul Creston

Grades 4-5

Concertino for Organ - Thomas Trachsel

This work was created by an order from the wind orchestra Feldmusik Sarnen and its conductor Rolf Schumacher on the occasion of his anniversary concert in the Hofkirche in Lucerne. The organist at the premiere was the organist of the court church Wolfgang Sieber. I tried to illuminate the Hofkirche and its organ in all three movements. In the Toccata the full force of the organ becomes clear, while in the second movement one is reminded more of praying monks in the cloister. In the final, all important topics are processed again. The organ part is very difficult to master, the accompaniment in the wind orchestra should be feasible for a wind orchestra grade 4 (approx. 1st class). (Edition Symphonic Works)

Concertino for Percussion and Band - Menno Bosgra

This three-part work was commissioned by Kunstfactor--the Dutch Institute for Amateur Art. Its purpose is to further the repertoire for solo percussionist and orchestral accompaniment--whether brass band, fanfare orchestra or wind band. For a good performance, the soloist should be well-versed in a variety of techniques, and should have a good understanding of the instruments not only technically, but also musically. In terms of the selection of instruments and also technique, the first and second movement are more classical in style, while the final movement--with a set-up of various so-called 'untuned' instruments--is more suited to contemporarysolo kit playing. These distinctions will become clear to the soloist while studying the piece. (Menno Bosgra)Movement One requires timpani and tambourine;Movement Two requires marimba and vibraphone;Movement Three is a set-up of: five untuned drums (bongos and toms), large drum (standing), large floor drum or smaller bass drum (lying down), cowbell on a stand, suspended cymbals, Chinese cymbal and small drum.

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