En 1950 à l'occasion de l'Année Sainte le Pape Pie XII décida que la Marche pontificale du compositeur français Charles Gounod (1818-1893) deviendrait l'hymne officiel de l'État de la Cité du Vatican. La Marche pontificale comme l'avait appelée son auteur prit alors le nom d?Hymne pontifical remplaçant ainsi l?ancien hymne (Musica Festiva) composé par Vittorino Hallmayr en 1857.Animé d?une foi profonde Charles Gounod avait composé cette marche en 1869 pour le jubilé sacerdotal du Pape Pie IX. La création eut lieu la même année sur le parvis de la Basilique Saint-Pierre par sept fanfares militaires. L?œuvre connut un succès immédiat.Elle est toujours appréciée de nos jours.Wil van der Beek en a réalisé un excellent arrangement.

from 'Faust'-L?histoire de Faust qui vend son âme au diable en échange du savoir et du pouvoir a toujours été une source d?inspiration pour de nombreux auteurs poètes régisseurs et compositeurs. Parmi ces artistes est le compositeur français Charles Gounod dont l?opéra Faust fut interprété pour la première fois en 1859. Ce Ch?ur des Soldats (Soldiers? Chorus) ravissant est une des mélodies les plus connues de l?opéra. Sa simplicité et beauté musicales convient à n?importe quelprogramme de concert qui nécessite un arrangement classique célèbre.

from Faust-Faust de Goethe a été plusieurs fois mis en musique par des compositeurs célèbres - dont Berlioz Busoni et Spohr. En s?inspirant de la pièce de Goethe Charles Gounod composa un opéra connu pour ses belles mélodies ses chants expressifs et ses orchestrations subtiles. Un des points forts de cet opéra est sans aucun doute cette impressionnante Cavatine intitulée Salut ! Demeure chaste et pure. Wil van der Beek a choisi pour son arrangement de confi_x001C_er la partie solo à l?euphonium. Un choix judicieux qui placera votre soliste sous les feux de la rampe grâce à cette cavatine vibrante d?émotion et de sensibilité.

Gounod's Prayer (O Divine Redeemer!) originally a solo for Mezzo-soprano chorus and orchestra comes from his oratorio La Redemption and here is presented as a beautiful lyrical solo for Euphonium and Piano accompaniment.

Arr. Wil Van Der Beek. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. / Niveau : 3 / Répertoire / Concert Band ou Harmonie

Tchaikovsky is best known for his purely instrumental compositions. However we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin) composed in 1877-1878 was not called an opera by Tchaikovsky himself but ?lyric scenes?. The work is entirely dominated by lyricism. However there are two moments that contrast sharply with this lyricism: two ball scenes for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant this arrangement features the aforementioned waltz which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg.