For more details of each publication,  click on the appropriate bar in the navigation  on the left.  This will provide a little of the history of the work, an indication of its duration, its orchestration and some brief sound excerpts

Brahms, Variations and Fugue on a Theme of Handel.  An orchestration , by Tony Turrill , for double wind quintet and contrabassoon, of the piano work.  The Theme is the Harmonious Blacksmith.  In all, the orchestration uses 10 of the original variations and,  with a  sizeable fugue, it is a substantial work.

Dvorak, Legends.  Originally written for two pianos, this is an orchestration of the ten legends by Tony Turrill,  for double wind quintet and contrabassoon. The second flute necessarily doubles piccolo.   Three variations use Cor Anglais and Bass Clarinet but versions with the standard double quintet are provided for those who do not have these available. For performance, individual Legends will stand alone.

Dvorak’s Rhapsodies No.1 & No.3   These are not to be confused with the well known Slavonic Dances but arrangements for a large wind ensemble (14 instruments) of two of his surprisingly less well known Rhapsodies.  Surprisingly, because they are a treasure house of Dvorak at his most enjoyable.  Although originally written for a very full orchestra,  the woodwind and horns carry much of the main stream of the works and this allows the arrangement to be very effective

Elgar/Breed  Serenade    Elgar’s well loved Serenade for strings, arranged very effectively by James Breed to produce a wonderful romantic addition to the octet repertoire.

Haydn/Turrill, Notturni nos. 3, 4, and 7.  These were originally commissioned for two solo Lira, with 2 C clarinets, 2 Violas, Cello, Bass and 2 Horns, although Haydn later himself provided alternatives.   Nos. 3 and 4 are virtually transcriptions in which the Violas are replaced with Basset Horns, the Cello by a Bassoon and the Bass by a Contrabassoon. No. 7 has been more completely rescored for the standard Double Wind Quintet.

Mozart, K608, Ein Orgel-Stuck fur eine hur.  Mozart wrote two pieces for mechanical clock organ, this is the second.  Duncan Druce was commissioned to orchestrate it for the London Mozart Players and scores it for 2 oboes, 2 basset horns, 2 bassoons and 2 horns with an ad lib bass.  Parts are provided for clarinets to replace the bassets.

Schubert/Breed, Wind Octet An arrangement based on an early sonata for violin and piano

Warlock, Capriol Suite. Probably Warlock’s masterpiece, certainly his most played composition in the original and a variety of arrangements. Originally written for String Orchestra, later set for full orchestra by the composer, this arrangement, by Tony Turrill,  is for the standard Wind Octet.