William Blezard began writing "Caramba!" during a tour of New Zealand. Yet the musical basis of this work is about as far away from Kiwi culture as one can get. The word 'Caramba' has several translations from the Spanish, including "Dear Me!", or "Goodness Me!", or perhaps more colloquially, "Golly", or even "Holy cow!". The entire work has an exotic feel to it that is so suggestive of things Spanish or Latin American. This is helped by the extensive use of percussion, and of course the brass is pure Latin American dance style. The demanding piano part is featured as almost a 'concertante'. In the Concert Band arrangement, the piano is highly desirable to replicate the original score, but the arrangement includes enough doubling and a short cut to make the piece entirely playable without the piano. "Caramba!" has all the hallmarks of a great piece of concert music that pleases as well as excites. For bands that want a challenge that is sure to bring an audience to its feet, "Caramba!" is the piece!

CARAMBA!!   - William Blezard; arr. by Paul Noble

Christ is the morning star is sheer beauty in its simplicity and message. Whether performing this arrangement with or without a chorus, the beauty remains. The choral part is included in the score as reference, but is not a part of the download. Choral parts may be purchased through Oxford University Press or their affiliates. The arrangement is written so that it is playable without a chorus. This piece brings John Rutter's music to everyone because it is technically not demanding. There are sufficient doubling of parts so that even the smallest ensemble can experience the music and bring its lovely essence to an appreciative audience.

Christ Is The Morning Star - John Rutter; arr. by Paul Noble

"Xylophones ahoy! John Rutter's ‘Partita’ of 1976, now 'Cityscapes', is not a piece you might necessarily have expected from the renowned composer of some of the classics of contemporary sacred choral music." Yet this is a giant of a piece that allows everyone in the ensemble to truly shine, and one which surely will become a significant addition to the repertoire of the Concert Band. With hints of Gershwin, and filled with joy, majesty, wonder, and power, it will excite your ensemble and capture your audience. The original orchestra composition was written for, and dedicated to, the London Junior Orchestra.

The band arrangement is available as a complete set of three movements, and also available with each movement separately. Movement titles are: 1. Big Apple; 2. Lost City; 3. Flower of Cities All.

Cityscapes (Complete)- John Rutter; arr. by Paul Noble

The Organ Symphony,composed in 1886,was commissioned by the Royal Philharmonic Society in the UK, and Saint- Saëns travelled across the Channel to conduct its premiere at the old St. James’s Hall, now the site of Le Meridien Hotel in Picadilly.‘I gave everything to it I was able to give,’ said the composer of the work.‘What I have accomplished here,I will never achieve again.’ It has been one of the most popular symphonies in the repertoire, and is one of those rare works that instantly entered the canon of masterpieces and has remained there ever since.Its most famous melody, the radiant theme of the finale, has even entered into popular culture: it has been featured in the 1995 movie Babe and at DisneyWorld’s Epcot Center, and has even been adapted as the anthem of the would-be micronation of Atlantium. Some years ago Paul Noble, the arranger, had the privilege of conducting an orchestral performance of this work. In listening to the recording of that performance, he felt that it would make a magnificent work for the Concert/Wind Band. So he has now produced the arrangement and offered it in several formats: the complete symphony in two movements; the first movement alone; the second movement alone; and the finale alone, beginning with what may be called one of the great C Major chords in music. Organ parts are cued when necessary.

Symphony No 3 (Organ) Finale

The Piano Concerto No. 2 in C minor, Op.18, is a concerto for piano and orchestra composed by Sergei Rachmaninoff between the autumn of 1900 and April 1901. The second and third movements were first performed with the composer as soloist on 2 December 1900. The complete work was premiered, again with the composer as soloist, on 9 November 1901, with his cousin Alexander Siloti conducting. The piece established Rachmaninoff's fame as a concerto composer and is one of his most enduringly popular pieces.
Some years ago Paul Noble, the arranger, had the privilege of conducting an orchestral performance of this work. In listening to the recording of that performance, he felt that it would make a magnificent work for a piano soloist with Concert/Wind Band accompaniment. "My thought has been that there must be many college level piano majors who would like to perform one movement of this work, which has seemingly become acceptable, since it is so complete by itself.  And now, with a band arrangement, the opportunities should expand for greater accessibility. While I have been immersed in arranging this magnificent music, the television is showing the horrors of the invasion of Ukraine, birthplace of Rachmaninoff, which is heartbreaking in today's world."

Piano Concerto No. 2 - Rachmaninoff (Concert Band arrangement

The Organ Symphony, composed in 1886, was commissioned by the Royal Philharmonic Society in the UK, and Saint- Saëns travelled across the Channel to conduct its premiere at the old St. James’s Hall, now the site of Le Meridien Hotel in Picadilly. ‘I gave everything to it I was able to give,’ said the composer of the work. ‘What I have accomplished here, I will never achieve again.’   It has been one of the most popular symphonies in the repertoire, and is one of those rare works that instantly entered the canon of masterpieces and has remained there ever since. Its most famous melody, the radiant theme of the finale, has even entered into popular culture: it has been featured in the 1995 movie Babe and at Disney World’s Epcot Center, and has even been adapted as the anthem of the would-be micronation of Atlantium.
Some years ago Paul Noble, the arranger, had the privilege of conducting an orchestral performance of this work.  In listening to the recording of that performance, he felt that it would make a magnificent work for the Concert/Wind Band.   So he has now produced the arrangement and offered it in several formats: the complete symphony in two movements; the first movement alone; the second movement alone;  and the finale alone, beginning with what may be called one of the great C Major chords in music.  Organ parts are cued when necessary.

Symphony No. 3 (Organ) Complete

Finale, Symphony No. 3 (Organ). Performed by the Wheaton Municipal Band, Dr. Bruce Moss, Conductor

In 1846, Hector Berlioz conducted two concerts in Budapest to popularize his compositions. For this occasion, as it was usual in his era, he composed a few pieces for Hungarian melodies to win the favor of the audience. One of these pieces was an adaptation of the Rákóczi March that immediately became the favorite one of the audience as he noted in his memoirs: "...the hall was shaken by unprecedented shouting and stamping of feet. (…) We had to start again but on the second occasion, too, the audience could hardly or not at all control themselves, just like on the first occasion." With some modifications, he included this composition later in La damnation de Faust.
The Berlioz version has become a popular folk-music selection in Hungary, especially for weddings. The March is played at state and military celebrations and is the official inspection march of the Hungarian Defence Forces. The tune was used for decades as the morning signal of Kossuth Rádió at the beginning of the daily broadcast.

Marche Hongroise (Hungarian March; Hector Berlioz; arr. by Paul Noble

Solemn Prelude requires a more special description than space will allow. It has been my privilege to receive from the Three Choirs Festival in the U.K. the opportunity to produce this arrangement for Concert/Wind Band from a long-lost piece of music. Samuel Coleridge-Taylor was commissioned in 1899 by the Three Choirs Festival, with its history spanning over 300 years and having commissioned over 550 works, to create this beautifully romantic and highly chromatic work. The exploration of ten tonal centers contributes to a depth of feeling and emotion that brought added prestige to the young composer. This arrangement has been produced from a copy of the original, handwritten, autographed score. There is a most interesting story about how the music was found, which should produce relevant and interesting program notes. PN
https://cso.org/experience/article/10876/how-a-british-sleuth-uncovered-a-long-lost-wo

Solemn Prelude - Samuel Coleridge-Taylor; arr. by Paul Noble

Composer Roy Moore's Santa's Sleigh Ride brings to the Christmas collection a remarkable piece that at once is a happy, delightful, compelling, cute and a uniquely crafted rendition of Santa's Christmas Eve journey around the world. This represents a new setting of his orchestra work, now arranged for the Concert/Wind Band by a most grateful arranger, to have made acquaintance with such a noted composer. Enjoy!

Santa's Sleigh Ride - Roy Moore; arr. by Paul Noble

From the composer’s home on Anglesey, the magnificent mountain range of Eryri (‘abode of the eagles’), known as Snowdonia in English, can be seen clearly, and it is this fine view that spurred him to compose this tone-poem.  Just as the mountains change from season to season, and the view alters as one climbs the slopes, there are several distinct and contrasting sections to the piece itself. First we hear the bustle and excitement of the area in summer, as tourists flock to the foot of Snowdon; then an impression of the confident striding of those setting off to climb.  After a brisk climax, the codetta to the energetic theme becomes the basis of a new, folk-like, idea which develops into a majestic anthem suggesting the grandeur of the mountain-range.  The famous little train of Snowdon is brought to mind by a repetitive, mechanical idea which leads to a section combining both the main themes of excitement and grandeur, and to a powerful climax.  Then, after a moment of silence, the atmosphere changes completely. Here is the ineffable solitude – and timeless beauty - of Snowdonia; but from the cellos (saxophone) we soon hear the folk-like theme slowly re-asserting itself, resolving into a peremptory fanfare which leads back to the opening mood and a return of the opening theme. But the final word is given to the ‘solitude’ motive, now transformed into a resolute chorale representing the eternal permanence of these extraordinary mountains. (Composer’s note)

Snowdonia - Gareth Glyn; arr. by Paul Noble

Paul Noble

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