The next two movements of Divertimento by Vincent Persichetti (Note we did not do movement III).

I am playing Timpani

Composer's Notes:
I soon realized the strings weren't going to enter, and my Divertimento began to take shape. Many people call this ensemble Band. I know that composers are often frightened away by the sound of the word "band", because of certain qualities long associated with this medium - rusty trumpets, consumptive flutes, wheezy oboes, disintegrating clarinets, fumbling yet amiable baton wavers, and gum-coated park benches! If you couple these conditions with transfigurations and disfigurations of works originally conceived for orchestra, you create a sound experience that's as nearly excruciating as a sick string quartet playing a dilettante's arrangement of a nineteenth-century piano sonata. When composers think of the band as a huge, supple ensemble of winds and percussion, the obnoxious fat with drain off, and creative ideas will flourish.
It is because of the scoring of this work and the attitude the composer showed in the creation of the work which Fennell felt was new for the "band" medium.