To arrange one of the most beautiful organ fugues by the great classical composer Johann Sebastian Bach (1685-1750) for concert band is certainly a demanding task. Klaas van der Woude has however performed this feat to produce this excellent and exciting arrangement. Organ Fugue is suitable for any festive concert!

« Fata Morgana » est le nom donné à un phénomène de mirage souvent observé au-dessus du détroit de Messine en Italie et que l'on attribuait à la fée (en italien fata) Morgane. Du mirage nous passons aux notes éthérées d?une rêverie qui se termine brutalement avec l?exposition d?un air de tango rythmé et endiablé. Et si la réalité nous avait rattrapés ?

for Organ and Concert Band-Cette pièce a été composée en 2009 à la demande du Shinjuku Bunka Center à Tokyo pour marquer le trentième anniversaire de son ouverture. C?est une œuvre impressionnante combinant une fanfare éclatante et le son majestueux de l?orgue résonnant à travers la salle de concert. Elle a été créée par Hiroko Takahashi l?organiste du Centre et l?orchestre d?harmonie de Shinjuku City sous le bâton de Shigeto Ishizu. Les œuvres écrites pour orgue et orchestre d?harmonie sont rares. Fraîche et originale cette pièce d?ouverture sera suivie d?un solo d?orgue pouvant mener à une marche.

This concert march is a tribute to the ?pioneers? in the world of brass music in the Lowlands of Netherlands the original founders of the bands and the people who take the lead in organising the societies and associations in the band movement. Celebrate the joy and friendship of the brass band movement with this truly uplifting march.

This concert march is a tribute to the ?pioneers? in the world of brass music in the Lowlands of Netherlands the original founders of the bands and the people who take the lead in organising the societies and associations in the band movement. Celebrate the joy and friendship of the brass band movement with this truly uplifting march.

Arr. Wil Van Der Beek. Par DVORAK ANTONIN. The year 2004 marked the 100th anniversary ofthe death of Antonin Dvorák. In 1879 Dvorákwrote this Polonaise as a commission for thecommittee organising the festivities for theirfamous national dance festival. Many famousCzech composers wrote dances specially for thisevent. This Polonaise in three movements, with itsfine melody lines, deserves to be more than just anoccasional work, however. Wil van der Beek’sconcert band arrangement does justice to theoriginal piece. / Niveau : 5 / Répertoire / Concert Band

À partir de 776 avant J.-C. et pendant plus d?un millénaire les Jeux Olympiques antiques ont eu lieu dans le site sacré d?Olympie en Grèce. L?année 1896 voit la renaissance de l?olympisme. Le baron Pierre de Coubertin organise les premiers Jeux modernes à Athènes. En 1996 Atlanta célèbre avec faste le centenaire des Jeux. James Curnow compose à la demande du Comité Olympique d?Atlanta cette œuvre brillante idéale pour débuter un concert.

À partir de 776 avant J.-C. et pendant plus d?un millénaire les Jeux Olympiques antiques ont eu lieu dans le site sacré d?Olympie en Grèce. L?année 1896 voit la renaissance de l?olympisme. Le baron Pierre de Coubertin organise les premiers Jeux modernes à Athènes. En 1996 Atlanta célèbre avec faste le centenaire des Jeux. James Curnow compose à la demande du Comité Olympique d?Atlanta cette œuvre brillante idéale pour débuter un concert.

The year 2004 marked the 100th anniversary ofthe death of Antonin Dvorák. In 1879 Dvorákwrote this Polonaise as a commission for thecommittee organising the festivities for theirfamous national dance festival. Many famousCzech composers wrote dances specially for thisevent. This Polonaise in three movements with itsfine melody lines deserves to be more than just anoccasional work however. Wil van der Beek?sconcert band arrangement does justice to theoriginal piece.

La Symphonie N? 0 a ?t? compos?e ? la demande de l?Harmonie Royale Sainte-C?cile de Zele (B) ? l?occasion de son 175?me anniversaire. ? Phoenix ex cinere suo renascitur ? (le ph?nix rena?tra de ses cendres) est la devise de l?orchestre. L?oiseau mythique figure fi?rement sur l?enseigne de l?association.Dans nombre de mythologies ? travers le monde on retrouve des histoires similaires sur le th?me du ph?nix renaissant de ses cendres. Dans cette ?uvre je me suis bas? sur les variantes ?gyptiennes et grecques tout en m?autorisant certaines libert?s. Dans l??gypte ancienne on retrouve le Ph?nix dans le rite de R? le dieu du Soleil.1?re partie : Fanfare pour R? dieu duSoleil :Apr?s une introduction myst?rieuse l?orchestre se donne une premi?re fois enti?rement avec des trompettes ?clatantes et des timbales pleines de virtuosit?. Il s?agit d?une ode festive au dieu du Soleil.2e partie : ? la source - Chant et danse du Ph?nixLe Ph?nix m?ne une vie solitaire pr?s d?une source quelque part en Perse. ? Son chant et sa danse sont d?une telle beaut? que R? le dieu du Soleil arr?te son char chaque jour ? midi pour admirer cet ?trange spectacle. ? Cette partie commence par une impression de la source avec une gamme de sonorit?s modale de clarinette et piano. L?air est m?lodieux et d?inspiration orientale. La danse est fantasque et pleine de virtuosit?.3e partie : Mort et renaissanceLorsque le ph?nix est devenu vieux il organise sa propre mort. Avec de l?encens et d?autres herbes aromatiques il se fait un nid dans le plus haut des arbres. Lorsqu?il y prend place le soleil br?le le nid. Le vieux ph?nix p?rit dans les flammes. Des cendres (re)na?t un ph?nix jeune et fort.4e partie : Vol vers Heliopolis - c?r?monie en l?honneur de R?Le jeune ph?nix enveloppe les restes du nid de son p?re dans un ?uf de myrrhe. D?s qu?il est assez fort pour le porter il s?envole avec vers H?liopolis (la ville de lumi?re qui existe toujours pr?s du Caire) o? il en fait offrande dans le temple de R?. L??uvre se termine par un chant

‘Jubilant Prelude’ is an orchestration of the ‘Preludium over Psalm 150’ originally composed for organ by Toon Hagen. Since 1998 Toon Hagen has been organ-player of the ‘Grote or Sint Michaëlskerk’ in Zwolle (the Netherlands). He has written several ‘contemporary’ compositions for organ.‘Jubilant Prelude’ has a capricious character by the use of irregular measures and its many measure changes. The structure of the Prelude is that of a fugue and is based on motives from the psalm.After the first climax which is both dynamic and harmonic the theme in the Andante Jubiloso is clearly audible and it is alternated with erratic motifs. Tension increases until at last the psalm itself isheard in all its glory. The melody of the psalm sounds as a cantus firmus in tenor register with motifs in ornamentation for saxophones bugles and trumpets. The finale like the prelude is capricious and vehement.The instrumentation for concert band was made by Wim Rouw. It is particularly colourful and has a surprising role for the percussion section.

Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie