En 1980 le pianiste et compositeur italien Gian Piero Reverberi fonde l?ensemble Rondò Veneziano. Le style musical directement inspiré de la musique baroque et associé à des instruments modernes (batterie guitare basse synthé) séduit immédiatement. Avec Concerto et San Marco Sinfonia per un Addio est un des plus grands succès de cet ensemble unique. La musique est légère mélodieuse et facile à suivre. Lorenzo Bocci a réalisé un arrangement pour Orchestre d?Harmonie qui conserve le charme authentiquement vénitien du Rondò Veneziano.

En 1980 le pianiste et compositeur italien Gian Piero Reverberi fonde l?ensemble Rondò Veneziano. Le style musical directement inspiré de la musique baroque et associé à des instruments modernes (batterie guitare basse synthé) séduit immédiatement. Concerto est basée tant pour la forme que pour l?harmonisation sur les principes du concerto baroque italien. L?adjonction d?un rythme emprunté à la musique pop apporte une touche énergique et dansante.

The giant stone statues of Easter Island (known as Moai) have long been a source of mystery and wonder. Using hints of Polynesian drumming and haunting ancient-sounding melodies this intriguing work for 2nd year players evokes a feeling of exotic majesty. Dur: 3:10

This powerful work by Ian McDougall showcases all the brilliance and splendor of the brass sections in a setting that makes a distinctive opener for any performance. Given its festive nature and the options for antiphonal staging it works especially well for holiday performances.

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. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Par FELICIANI LUCIANO. / Date parution : 2022-06-08/ Répertoire / Concert Band

Selon le philosophe allemand Johann Gottfried Herder « Les chansons populaires (?) sont les archives du peuple le trésor de sa science de sa religion de la vie de ses pères des fautes de son histoire. C?est l?expression de son cœur l?image de son intérieur dans la joie et les larmes (...) » Suite Marchigiana est un triptyque basé sur des chants traditionnels originaires des Marches une région d'Italie centrale qui cultive avec fierté les coutumes anciennes et son héritage riche en traditions.Le premier mouvement est inspiré d?une ancienne tradition de quête « La Pasquella ». Vers la mi-janvier des petits groupes de chanteurs-musiciens parcourent les villagespour présenter leurs vœux de bonne année. Leurs souhaits sont récompensés par des offrandes de nourriture de vin ou d?argent. Le second mouvement (Andante Triste) puise sa mélancolie dans le chant ancien Sona la mezzanotte (?Minuit sonne?) qui raconte des amours malheureuses l?absence ou la perte d?un être cher. Luciano Feliciani conclut sa suite avec Saltarello Marchigiano un air de danse pétillant et vif en opposition totale avec la texture du mouvement précédent. Il est plus ou moins communément admis que le « saltarello » (en français la salterelle) dérive d?une ancienne danse romaine appelée « saltatio ». Contrairement à la « chorea » une danse en forme de ronde basée sur une progression rythmique les « saltationes » sont plus vives de caractère. Le sémillant « saltarello » fut sans aucun doute l?expression musicale la plus connue dans l?Italie centrale rurale du XIXe siècle.

Travel to the Great Lakes region of Africa with composer Brian Beck in his new work 'Furaha!? Meaning 'joy? in Swahili, 'Furaha!? captures the festivity of a people who love to dance and sing. Written in 5/4 time, this piece provides an opportunity to challenge musicians rhythmically in a way that is fun and engaging. (3:20) / Concert Band

In 'Dorian Haiku,' two centuries-old cultural artifacts---one Western (the Dorian mode) and one Eastern (Haiku poetry)---are fused together, resulting in an engaging and beautiful composition for intermediate band. This unique work offers many wonderful opportunities for teaching both musical and cross-curricular concepts. (4:00) / Concert Band

Transcribed from the notorious Russian composer, Anton Stepanovich Arensky, this overture to his ballet suite is reminiscent of his predominantly romantic and classical repertoire. Scored with vivid colors and timbres for concert band, this charming work will be well received as a concert or contest work. (6:30) / Concert Band

Music occupies an important role in the cultural life of Russia. Russian Dance is based on a famous traditional song and reflects the characteristic elements of this expansive country. This composition develops over a steady tempo using varied and colourful effects to bring pleasure to musicians and audience alike.