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This concert overture stemmed from Classical-era harmonie music, usually written for wind octet (2 ob., 2 cl., 2 bsn., 2 hn.). I applied these conventions to a modern British brass band palette. The opening measures contain the motifs for the ensuing fast-slow-fast minuets, and the work circles back to where it began. Musicians who have read this work have noted its mosaic structure, where seemingly disparate fragments come into focus as the work progresses.
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