rws-trumpeters!

Copacabana - Barry Manilow

Her name was Lola, she was a showgirl
With yellow feathers in her hair and a dress cut down to there
She would merengue and do the cha-cha
And while she tried to be a star, Tony always tended bar
Across the crowded floor, they worked from eight til four
They were young and they had each other
Who could ask for more?

At the Copa, (Co) Copacabana (Copacabana)
The hottest spot north of Havana, (here)
At the Copa, (Co) Copacabana (Copacabana)
Music and passion were always the fashion
At the Copa .... they fell in love

His name was Rico, he wore a diamond
He was escorted to his chair, he saw Lola dancin' there
And when she finished, he called her over
But Rico went a bit too far, Tony sailed across the bar
And then the punches flew and chairs were smashed in two
There was blood and a single gun shot
But just who shot who?

At the Copa, (Co) Copacabana (Copacabana)
The hottest spot north of Havana (here)
At the Copa, (Co) Copacabana (Copacabana)
Music and passion were always the fashion
At the Copa (scream) she lost her love (Copa, Copacabana)

Her name is Lola, she was a showgirl
But that was thirty years ago, when they used to have a show
Now it's the disco, but not for Lola
Still in the dress she used to wear, faded feathers in her hair
She sits there so refined, and drinks herself half-blind
She lost her youth and she lost her Tony
Now she's lost her mind!

At the Copa, (Co) Copacabana (Copacabana)
The hottest spot north of Havana, (here)
At the Copa, (Co) Copacabana (Copacabana)
Music and passion were always the fashion
At the Copa .... don't fall in love
Don't fall in love

(Copacabana)
(Copacabana)
(Copacabana)

--
Second Suite for Military Band in F Major
Gustav HOLST (1874-1934)

This suite, composed in 1911, uses English folk songs and folk dance tunes throughout, being written at a time when Holst needed to rest from the strain of original composition. The opening march movement uses three tunes, the first of which is a lively morris dance. The folk song Swansea Town is next, played broadly and lyrically by the euphonium, followed by the entire band playing the tune in block harmonies - a typically English sound. Claudy Banks is the third tune, brimming with vitality and the vibrant sound of unison clarinets. The first two tunes are repeated to conclude the first movement. The second movement is a setting for the English folk song Ifll Love My Love. It is a sad story of a young maiden driven into Bedlam by grief over her lover being sent to sea by his parents to prevent their marriage. The Hampshire folk song, The Song of the Blacksmith, is the basis of the third movement, which evokes visions of the sparks from red hot metal being beaten with a lively hammerfs rhythm on the blacksmithfs anvil. The English country-dance and folk song, The Dargason, dating from the sixteenth century, completes the suite in a manner that continues to cycle and seems to have no end. The Elizabethan love tune Greensleeves is intertwined briefly and withdrawn before the final witty scoring of a piccolo and tuba duet four octaves apart.

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