Splashes of color and striking textures combine with an underlying ?street beat? driving pulse in this joyous overture for band. Throughout Michael skillfully manipulates melodic and rhythmic fragments as they aredeveloped and passed from section to section. A brief slow section and tender chorale provide a poignant calm before the celebration of rhythm and dance returns for the uplifting conclusion. A rewarding piece that is fun to play!Dur: 5:35

The opening of this unique and masterful work for band places the wind players out in the audience as the listeners are surrounded by the effect of a swirling dance of celestial lights and sounds. Onstage the percussion sectionintroduces a driving ostinato pattern later picked up by the entire ensemble. A delicate and beautiful middle section almost suspends time as soloists provide a bluesy interaction with the rich background texture and each other.The frantic pace returns leading to a stunning chorale played by the winds while the percussion continues simultaneously at a separate tempo! A creative and magical addition to the repertoire! Dur: c. 9:30

Using the delicate and flowing strains of ?Ice Dance? (from Edward Scissorhands) Michael uses a rich chorale style to lead into an exciting rendition of the main theme from Beetlejuice. Raucous and a bitoutrageous the closing segment powers ahead to a frenzied climax!

As the title suggests this work is a partita: it consists of a number of variations on a chorale melody. The partita has been popular for centuries especially when it comes to organ music. Henk van Belcum who is active in the choir world chose for his Partita Piccola the German hymn Wunderbarer König as a starting point. Partita Piccola consists of four variations and a choral setting. After a majestic opening fanfare the second variation follows based on a canon by Pachelbel. Händel?s Sarabande is the basis of the third variation. Next comes the chorale setting after which the work ends festively with a dance that has been written in the form of a courante. PartitaPiccola is an asset for church services and for concert platforms.

As the title suggests this work is a partita: it consists of a number of variations on a chorale melody. The partita has been popular for centuries especially when it comes to organ music. Henk van Belcum who is active in the choir world chose for his Partita Piccola the German hymn Wunderbarer König as a starting point. Partita Piccola consists of four variations and a choral setting. After a majestic opening fanfare the second variation follows based on a canon by Pachelbel. Händel?s Sarabande is the basis of the third variation. Next comes the chorale setting after which the work ends festively with a dance that has been written in the form of a courante. PartitaPiccola is an asset for church services and for concert platforms.

In its original form the Suite was written in answer to a commission from the Farnham Festival and was first performed on 11 May 1971. I was however not entirely satisfied with it and did not pass it for publication until 1982 when I revised it in considerable detail. In its revised form it was first performed on 18 June 1983 at Monash University Melbourne.The music requires little explanation. The titles of each of the five movements indicate their character: 'Fanfare'; 'Dance' which has Elizabethan overtones; 'Popular Song' which explores jazz rhythms and harmonies; 'Ceremony' - a solemn chorale; and 'Finale' a light-hearted Rondo with fugal touches. The overallintention is simply to entertain both the players and their audiences.

In its original form the Suite was written in answer to a commission from the Farnham Festival and was first performed on 11 May 1971. I was however not entirely satisfied with it and did not pass it for publication until 1982 when I revised it in considerable detail. In its revised form it was first performed on 18 June 1983 at Monash University Melbourne.The music requires little explanation. The titles of each of the five movements indicate their character: 'Fanfare'; 'Dance' which has Elizabethan overtones; 'Popular Song' which explores jazz rhythms and harmonies; 'Ceremony' - a solemn chorale; and 'Finale' a light-hearted Rondo with fugal touches. The overallintention is simply to entertain both the players and their audiences.

Celtiques est un ensemble de dix arrangements de mélodies traditionnelles bretonnes ou irlandaises pour choeur mixte et orchestre,L'écriture varie les orchestrations (voix solistes, double choeur, choeur de femmes) et mêle les langages jazz et traditionnel dans un kaleïdoscope de couleurs musicales,Il existe une version pour choeur et orchestre de cette oeuvre rassemblant trio jazz (contrebasse, batterie, piano) et instruments traditionnels : uillean pipe, violon, whistle, flüte, guitare DADGAD 1, An hini a garan (5') : Complainte : celui que j'aime, je l'ai perdu à jamais,2, Ar Baradoz (3') : Cantique : le bonheur du Paradis,3, Believe me if all those endearing young charms (4'30'') Rien n'altère les sentiments du poète Thomas Moore envers sa femme atteinte d'une maladie de peau,4, Fiddlers green (5') : Le paradis des marins,5, Finnigan's wake (2'30'') : Réveil du défunt lors d'une veillée funèbre bien arrosée,6, Johnny I hardly knew ye (3') : La bien-aimée est fâchée de constater que son homme perd à la guerre son bras, son oeil, sa jambe,,,7, Me zo ur Serjant Major (2'30) : Kan a diskan (Chant à danser) pour le retour de l'armée du sergeant-Major,8, My singing bird (3') : Elle aimerait bien tenir un petit oiseau entre ses deux seins,9, The Kerry dances (4'30'') : Dans le bon temps jadis, c'était mieux,10, Tri martolod (3'50'') : Après la mer, nous nous marierons et vivrons d'amour Flûte, guitare, batterie, piano, pipe, violons 1 et 2, contrebasse? / Choeur Et Orchestre

This ?Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family) - the string section in the Sarabande - in both chorales (extremely muted in the first and brutalist in the second), the brass etc. - and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This permits the flute to remain the provider of all impulses - it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights - acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann / Flûte Et Orchestre

Original Repertoire for Concert Band & Symphonic Band. Par VAN DER ROOST JAN. Overtures & Opening Pieces (CD 1)Firework - The Swan on the Hill - Olympica - Metalla - ConZEnSus - Centennial Prelude - Homage - Nemu Susato - Dynamica - Jubilus - Ponte Romano - Algona Overture - Flashing Winds - Signature Marches & Slow Pieces (CD 2)Mercury - Canterbury Chorale - Ceremonial March - Hymnus Antverpiae - Minerva - Prima Luce - Artemis - Adagio for Winds - Orion - Humanos - Helios - Christmas Time - Arsenal Suites & Rhapsodies (CD 3 & 4)Suite Provençale - Slavia - Finnish Folksong Suite - 4 Old Dances - Brasiliana - Kebek - Rikudim - Puszta - St. Martin’s Suite - Balkanya - Spirit of Independence - Singapura Suite - Tanczi Symphonic Tone Poems (CD 5 & 6)Spartacus - Et in Terra Pax - Manhattan Pictures - Volcano - Amazonia - Castellum - Credentium - Stonehenge - Toccata Festiva - Avalon - Poème Montagnard Symphonies & Concertos (CD 7 & 8)Sinfonietta - Sinfonia Hungarica - Concerto Grosso - Rhapsody for Horn - Tre Sentimenti/ Accessoire / Concert Band ou Harmonie

Allerheiligentag Iii. Par LINJAMA JYRKI. Jyrki Linjama's second string quartet (2018) is subtitled Allerheiligentag III. The material for the Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba and violin.The composer tells: “The choice of topic and material for the string trio was originally prompted by the venue at which it was to be premiered: the old church on the island of Seili (Själö). The bleak history of the island's leper and mental hospital evoked images of suffering and death. I got so attached to the harsh and beautiful melody that it began to generate a whole cycle.” The string quartet is in three movements (slow-quick-slow) tensed in different ways by contrasts. The first movement has both swinging softness and cutting sharpness, the Scherzo the wildness of a dance of death and lyricism, and the finale the irrevocability of a funeral march and tender melodiousness./ Répertoire / String Quartet