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Composed by Edward Elgar. Arranged by Alfred Reed and M.J. Retford. Concert Band; Performance Music Ensemble; Single Titles. Master Band Series - LudwigMasters. Graduation; Masterwork Arrangement. Score and Part(s). LudwigMasters Publications #36-M907102. Published by LudwigMasters Publications (AP.36-M907102).
UPC: 660355011696. English.
Of all four marches that came after the overwhelmingly successful No. 1, March No. 4 seems to many people to be most closely related in general effect to the first. Just why this should be so is difficult to say. All five of the Pomp and Circumstance Marches are cast in basically the same form, a two-part A-B-AB, with the A part energetic and moving briskly along, and the B bringing a change of feeling (even though no actual change of pace is indicated) with the so-called great tune by way of contrast. However, it has become almost a tradition with Nos. 1 and 4 to play the final section in a slower tempo, probably in respect of Elgar's tempo marking Grandioso at this point. Certainly both of these great tunes could, and have, been considered as portraying musically the very essence and glorification of British majesty and power at the time they were written.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
Composed by Edward Elgar. Arranged by Alfred Reed and M.J. Retford. Concert Band; Performance Music Ensemble; Single Titles. Master Band Series - LudwigMasters. Graduation; Masterwork Arrangement. Score and Part(s). LudwigMasters Publications #36-M907102. Published by LudwigMasters Publications (AP.36-M907102).
UPC: 660355011696. English.
Of all four marches that came after the overwhelmingly successful No. 1, March No. 4 seems to many people to be most closely related in general effect to the first. Just why this should be so is difficult to say. All five of the Pomp and Circumstance Marches are cast in basically the same form, a two-part A-B-AB, with the A part energetic and moving briskly along, and the B bringing a change of feeling (even though no actual change of pace is indicated) with the so-called great tune by way of contrast. However, it has become almost a tradition with Nos. 1 and 4 to play the final section in a slower tempo, probably in respect of Elgar's tempo marking Grandioso at this point. Certainly both of these great tunes could, and have, been considered as portraying musically the very essence and glorification of British majesty and power at the time they were written.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
Preview: Pomp and Circumstance March No. 4
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