Wren Polka, Op. 70: Polka for Piccolo Cover Image

Wren Polka, Op. 70: Polka for Piccolo: Concert Band, Parts

$25.00 USD
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Wren Polka, Op. 70: Polka for Piccolo Cover Image

Wren Polka, Op. 70: Polka for Piccolo: Concert Band, Parts

By Eugene Damare

Item: 36-B306302

$25.00
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Description
The WREN POLKA (LE ROITELET. POLKA), Op. 70 was composed by the French flautist and composer, Eugéne Damaré (1840-1919) in 1879. Reprint edition of the parts only.

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Additional Details
Series: Master Band Series - LudwigMasters
Publisher: Keiser Productions, Inc.
UPC: 660355078583
SKU: 36-B306302
Instrumentation: Solo Piccolo and Concert Band

More about this title

About the Composer: Eugene Damare

Eugéne Damaré (1840, 1919) was a French flautist and composer who earned respect across European concert halls as both a virtuoso performer and a prolific writer for winds. His facility on the flute informed his compositional voice; he understood the instrument's technical possibilities and lyrical warmth in ways that came directly from decades of performance experience. Damaré composed over 100 works, many for wind ensembles and band, leaving a legacy of music that balances technical display with genuine musicality.

Why we love this

A piccolo showcase that sits comfortably between showpiece and musical substance, the Wren Polka gives your soloist room to sparkle without demanding virtuosity beyond the reach of a solid high school player. The polka form keeps energy high and the arrangement straightforward enough that you can prepare it without extensive rehearsal time, yet Damaré's craftsmanship ensures the band part feels like a genuine accompaniment rather than filler.

What to expect

Brisk, charming, and just slightly whimsical. The polka rhythms lift the band into a lilting 2/4 groove while the piccolo dances across the top with rapid figuration and bright inflection. It's the musical equivalent of a small bird in flight, active and entertaining without overstaying its welcome.

Who it's for

Bands with a confident piccolo player who can carry a solo feature with tone and articulation. This works equally well for a concert program needing a spirited novelty piece or as a celebration of your piccolo section's abilities.

How to get the most out of it

  • Lock the articulation in the band's rhythmic figures early; the polka's character depends on crisp, unified attacks from the ensemble.
  • Balance the piccolo solo generously forward in the mix so every note of the writing lands clearly, especially the passage work.
  • Shape the accompaniment as support, not competition. The band should breathe with the soloist and give ground when the piccolo line has something to say.

How to use it

Slot this as a concert closer or second-half opener when you want to lift the audience's mood and give the band a chance to play something purely fun. It pairs well alongside other European band favorites or as a palate cleanser between more substantial works.

Skills your students will build

  • Piccolo tone control and clarity in fast passage work
  • Ensemble rhythmic precision in polka meter
  • Balancing solo feature with band accompaniment roles

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