SKU: CF.YPS208F

ISBN 9781491152966. UPC: 680160910465.

A stunning and heart-wrenching composition based on the Jewish folk son Shlof, Mayn Kind. You can hear the emotional content pour out of this piece written in memory of an outstanding orchestra director. The piece beginnings with original material to set the tone, followed by a clarinet solo on the song. It then develops through a variety of different harmonic presentation before building to a nice key change and climatic moment. The piece ends as it began, but with a more hopeful tone. An amazing piece.
Sleep, My Child was commissioned by the Madison Middle School Band and Orchestra in Tampa, Florida, and is dedicated to the memory of their Director of Orchestras Kevin Frye. Director of Bands Chris Shultz championed the commissioning of this piece to honor Kevin after he passed away in December 2016. Mr. Frye was a beloved member of the staff at Madison Middle as well as the music community of Tampa and the state of Florida. I was a personal friend of Kevin’s. We were in several musical groups together when we were young that were formative to both of our musical careers. I also guest conducted his Madison Middle School Orchestra several times over the past four years. His musicianship, teaching skills and love for his students were exemplary.When taking on the challenge of writing a piece to honor Kevin’s legacy, Mr. Shultz and I decided to try and include several important aspects of Kevin’s life into the piece. Kevin was proudly Jewish, a fantastic trumpet player and loved Jazz. With that in mind, and after a lot of research, a Jewish folk song Shlof, Mayn Kind was selected as the basis for the piece, not to be religious, but to honor his faith and heritage. Plus it is a beautiful song, and I felt the title reflected the sentiment I was looking to express, which is of someone taking rest after a long battle with illness. Thus, a lullaby seemed appropriate.I also wanted to incorporate Jazz into the piece, but in a concert setting, so you will hear as the piece develops, the harmonies of the folk song expand into ones found more commonly in Jazz compositions. Not in a far out way, but in a subtle way to again honor this part of his life. For example the climactic moment of the piece at the fermata in m. 57 is a Dbmaj9#11 chord. It appropriately give the piece the angst that I was looking for at this moment in the piece, while honoring the importance of Jazz in Kevin’s musical life.The piece was also conceived to include both the Madison band and orchestra in the performance at the premiere. I wanted the pieces to work separately by the band and separately by the orchestra, but I also wanted them to be able to play the piece together to honor Kevin.The piece begins with original material designed to set the mood of the piece with a tempo/style marking of pensive, but also as material that I used as connective musical tissue between statements of the folk song.  After this introduction, the folk song is presented by a solo violin (or clarinet) with orchestral accompaniment in a simple straight forward presentation of the song. This is followed by a woodwind section statement of the folk song accompanied by muted trumpets. During this presentation the harmony starts to expand with more color notes in the chords. The low brass are added half way through this statement to add depth and lushness.The introductory material returns, but with some angry hits in the lower voices. This leads to a full ensemble state of new material that is used to transition to the climax of the piece, and to build tension. After the build, the piece modulates to a shortened statement of the folk song with more advanced harmonies and an active counter line in the violas, horns, saxes and first clarinets to further build the tension.  This tension is released at the fermata in m. 57, as mentioned above. After a thoughtful pause, the piece concludes with a completion of the folk song again with a solo violin (or clarinet) followed by a return of the introductory material to tie the piece together. The piece ends hopeful, with a solo trumpet (Kevin’s instrument) that is dissonant at first, but then resolves as if to say - everything will be OK! It has been my distinct honor to have been asked to write this piece in Kevin’s memory! I hope that in some small way the piece helps to bring comfort to his family, students, colleagues and to all those that knew him!–Larry ClarkLakeland, FL  2017.

SKU: HL.44002765

UPC: 073999027655. 9.5x13.5x0.97 inches.

This piece was commissioned by the 'Concert Band Vlamertinge' and is a plea for peace: the title translates as 'Peace on Earth'. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words 'Et In Terra Pax' - an appeal for peace - at first jumbled together but later more rhythmically structured, developing into synchronized massed voices.The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from 'ConCErtbAnD VlAmErtinGE' and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the firstexplosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently colored sound: the words 'Et In Terra Pax' bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming cho-rale-like passage. A narrator reads aloud the poem 'Sonnet' by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words 'Et In Terra... Pax' are repeated again and again by the rest of the orchestra.The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too.

Dieses Werk wurde im Auftrag der Concert Band Vlamertinge geschrieben und ist ein Pladoyer an den Frieden: Der Titel bedeutet dann auch 'Frieden auf Erden'. Dies kommt unter anderem im vokalen Anteil der Ausfuhrenden zum Ausdruck. An verschiedenenStellen des Werkes erklingen, anfangs durcheinander dann zu einem rhythmischen und strukturierten Synchrongesang vereint, die Worte 'Et In Terra Pax' wie ein flehendes Gebet fur den Frieden.

Ein pentatonisches Thema formt den Anfang dieses Werkes, basierend auf den Noten D, E, G, A, und C, die dem Namen: 'ConCErtbAnD VlAmErtingE' und dem Namen des Dirigenten NiCk VAnDEnDriessChe entstammen. Wahrend der orchestralen Klimax, die zu einemersten Klangausbruch fuhrt (ab Takt 62), entsteht eine etwas traurige Melodie. Plotzlich werden dann die Eingangstakte wiederaufgenommen, wenn auch mit einer veranderten Klangfarbe; die Worte 'Et In Terra Pax' runden den ersten Teil daraufhin ab. Esfolgt ein unruhiges Allegro, das uberraschend durch eine Choralartigen Passage voller Ruhe unterbrochen wird. Eine Sprechstimme liest wahrenddessen das Gedicht Sonnet des jungen Dichters Charles Hamilton Sorley vor, der im ersten Weltkriegfiel. Es findet fur die Grausamkeit und Sinnlosigkeit des Krieges die passenden Worte. Nachdem das Allegro, diesmal mit einigen Ausbreitungen, wiederholt wird, kehrt die weite, beinahe unendliche Atmosphare des Beginns wieder zuruck. Klarinettenspielen zusammen mit einem Englischhorn das pentatonische Eingangsthema ein letztes Mal in ausgebreiteter Fassung, wobei das Et In Terra Pax' durch den Rest des Orchesters stets wiederholt wird.Der Komponist hat bewusst auf jegliche Form der Aggression oder bombastischen Vertonung, die in so vielen Werken uber den Krieg zu finden ist, vermieden. Dennoch ist die Angst vor Gewalt und Zerstorung vor allem in den Allegro-Passagen deutlich zuhoren und zu fuhlen. Am Ende macht die anfangliche Spannung jedoch der Hoffnung Platz: Moge die Friedlichkeit auch im taglichen Leben die Grausamkeit verbannen...

SKU: BT.DHP-0981118-010

This piece was commissioned by the ‘Concert Band Vlamertinge’ and is a plea for peace: the title translates as ‘Peace on Earth’. This is expressed by means of the vocal contribution expected from the performers. In various places of the piece you can recognize, the words ‘Et In Terra Pax’ - an appeal for peace - at first jumbled together but later more rhythmically structured, developing into synchronized massed voices.The work starts with a pentatonic theme based on the notes D, E, G, A and C (taken from ‘ConCErtbAnD VlAmErtinGE’ and the name of the conductor, NiCk VAnDEnDriessChe). A somewhat sad melody is developed during an orchestral climax which leads to the firstexplosion of sound (measure 62 onwards). Suddenly the opening measures are recaptured, albeit with a differently colored sound: the words ‘Et In Terra Pax’ bring the first movement to a close. A restless Allegro follows which abruptly stops and is replaced by a calming cho-rale-like passage. A narrator reads aloud the poem ‘Sonnet’ by the young poet Charles Hamilton Sorley, who was killed during World War I. This poem fittingly puts into words the cruelty and senselessness of war. After the expanded recapitulation of the allegro, the broad, almost infinite atmosphere of the beginning returns. Clarinet and English horn play the pentatonic opening theme once more, this time broadly, while the words ‘Et In Terra... Pax’ are repeated again and again by the rest of the orchestra.The composer has purposely avoided all forms of aggression and bombastic sounds regularly used in works about war. Fear of violence and destruction can be heard and felt during the allegro passages. The charged opening makes way in the end for hope: May peacefulness replace cruelty in everyday life, too.

Dieses Werk wurde im Auftrag der Concert Band Vlamertinge geschrieben und ist ein Plädoyer an den Frieden: Der Titel bedeutet dann auch ‘Frieden auf Erden’. Dies kommt unter anderem im vokalen Anteil der Ausführenden zum Ausdruck. An verschiedenenStellen des Werkes erklingen, anfangs durcheinander dann zu einem rhythmischen und strukturierten Synchrongesang vereint, die Worte ‘Et In Terra Pax’ wie ein flehendes Gebet für den Frieden.

Ein pentatonisches Thema formt den Anfang dieses Werkes, basierend auf den Noten D, E, G, A, und C, die dem Namen: ‘ConCErtbAnD VlAmErtingE’ und dem Namen des Dirigenten NiCk VAnDEnDriessChe entstammen. Während der orchestralen Klimax, die zu einemersten Klangausbruch führt (ab Takt 62), entsteht eine etwas traurige Melodie. Plötzlich werden dann die Eingangstakte wiederaufgenommen, wenn auch mit einer veränderten Klangfarbe; die Worte ‘Et In Terra Pax’ runden den ersten Teil daraufhin ab. Esfolgt ein unruhiges Allegro, das überraschend durch eine Choralartigen Passage voller Ruhe unterbrochen wird. Eine Sprechstimme liest währenddessen das Gedicht Sonnet des jungen Dichters Charles Hamilton Sorley vor, der im ersten Weltkriegfiel. Es findet für die Grausamkeit und Sinnlosigkeit des Krieges die passenden Worte. Nachdem das Allegro, diesmal mit einigen Ausbreitungen, wiederholt wird, kehrt die weite, beinahe unendliche Atmosphäre des Beginns wieder zurück. Klarinettenspielen zusammen mit einem Englischhorn das pentatonische Eingangsthema ein letztes Mal in ausgebreiteter Fassung, wobei das “Et In Terra Pax’ durch den Rest des Orchesters stets wiederholt wird.Der Komponist hat bewusst auf jegliche Form der Aggression oder bombastischen Vertonung, die in so vielen Werken über den Krieg zu finden ist, vermieden. Dennoch ist die Angst vor Gewalt und Zerstörung vor allem in den Allegro-Passagen deutlich zuhören und zu fühlen. Am Ende macht die anfängliche Spannung jedoch der Hoffnung Platz: Möge die Friedlichkeit auch im täglichen Leben die Grausamkeit verbannen….

SKU: CN.R10103

Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.

Stuart Johnson has the fine ability to capture moods and scenes in music. He was born in Staffordshire, the county for which he was Director of Music until his retirement in 1997. After experience as a player in brass bands, he served in the band of the King's Dragoon Guards before training as a teacher and working in schools. Following a period as a lecturer at Northumberland College of Education he became Music Adviser to the Metropolitan District of Sandwell prior to his appointment to Staffordshire. He has long experience as a conductor, particularly in the choral and band fields and also wide experience as an adjudicator and examiner. He has written prolifically for bands and orchestras and his didactic publications are used in many countries. He has over eighty published compositions and arrangements, many of which have been broadcast on radio or television. His commissioned works include the cantata David and Goliath which was first performed at the Royal Festival Hall, Oregon Overture for wind orchestra, Landscapes, Sinfonietta No 2, Wessex Dances and A Castle Suite. Stuart Johnson has recently completed several commissions, funded by National Lottery grants, for bands in Cumbria, the Isle of Wight, and Staffordshire. Requiem for Soprano, Chorus and Orchestra, was premiered successfully in front of a capacity audience in Lichfield Cathedral in March 1997, and received its first London performance at St. John's Smith Square in March 1998. This prestigious venue also saw the first performance of Songs and Sonnets for unaccompanied mixed choir in 2001. Stuart Johnson has written extensively for the theatre, his music for the production of Anna of the Five Towns was used for both the radio and television adaptations His music ranges in style from the evocative and demanding Sinfonietta for Wind Orchestra, which has received many performances since its premiere in the Royal Festival Hall, including a broadcast by the Band of the Scots Guards, to his ubiquitous Bandstand Boogie which has set feet tapping all over the world. Apart from the latter his most performed work is probably Circus Suite which was the British Youth Band Championship test piece in 1980. Northumbrian Suite and Landscapes have also been used as National Brass Band Championship test pieces. The Flint Knappers commissioned as a test piece for the 1998 East Anglian Band Festival was selected as a test piece for the 1999 Australian Championships. Before the days of photography, the great state occasions were captured in paintings and tapestries. In this Suite, the composer has imagined the pomp and splendor of the English court at work and play, capturing each mood in a short movement.

SKU: BT.DHP-1094734-140

9x12 inches. English-German-French-Dutch.

The Stadtmusikkapelle Wilten-Innsbruck (Austria) invited Belgian composer Jan Van der Roost to write a work to mark the bicentenary of the Tyrolean fight for freedom, which was settled in 1809. Various musical elements reflect this historical event. First, a hymn-like section rings out, based on melodic fragments from the ‘Tiroler Landeshymne’ (by Leopold Knebelsberger), which intertwine in a counterpoint-like arrangement. The second passage is more bellicose in character, and mirrors the fight of the Tyroleans - under the inspiring leadership of freedom fighter Andreas Hofer (1767-1810) - against Bavarian, French and Italian troops. Next, a broad, chorale-style melodyappears again: here, the imposing beauty of nature in Tyrol, and the amiable, lively temperament of the people who live in this mountainous region, are glorified.This is neither a programmatic work around an historical reconstruction, nor a politically inspired work: it is a combination of factual and cultural components, with an artistic and sonorous character. The use of the flugelhorn in particular gives Tirol Terra Fortis its ‘couleur locale’: for this beautiful instrument can invariably be found in the Austrian wind band. The commissioning music society had therefore specifically asked the composer to incorporate the instrument in this work. It certainly enhances the already extensive colour palette of the modern concert band!

Een hymne bestaand uit fragmenten van het Tiroolse volkslied. Strijdlustige klanken in het tweede deel. Tot slot een melodie in koraalstijl die de bewoners van Tirol en de indrukwekkende schoonheid van de natuur beschrijft. Hebt ual een idee? Tirol Terra Fortis is een programmatisch werk rondom de geschiedenis van Andreas Hofer en de vrijheidsstrijd van Tirol 200 jaar geleden. De bugel geeft dit kunstzinnige en klankvolle werk zijn bijzondere ‘couleurlocale’.

Eine Hymne aus Fragmenten der Tiroler Landeshymne, kämpferische Klänge im zweiten Teil und schließlich eine Melodie im Choralstil, welche die eindrucksvolle Schönheit der Natur und die Menschen in Tirol beschreibt. Sie haben es erraten? Tirol Terra Fortis ist ein programmatisches Werk rund um die Geschichte Andreas Hofers und den Freiheitskampf Tirols vor 200 Jahren. Der Einsatz des Flügelhorns verleiht diesem künstlerischen und klangvollen Werk ein besonderes Lokalkolorit.

Le compositeur belge Jan Van der Roost a composé cette œuvre la demande de l’Orchestre d’Harmonie Municipal de Wilten-Innsbruck en Autriche pour les cérémonies commémoratives du bicentenaire de l’insurrection tyrolienne de 1809. Plusieurs éléments musicaux reflètent cet événement historique travers un climat joliment évolutif. L’orchestre énonce un thème hymnique basé sur des fragments mélodiques de l’hymne officiel du Land du Tyrol (ou Hymne d’Andreas Hofer composé par Leopold Knebelsberger) qui se mélangent et se confondent dans un arrangement en forme de contrepoint. Le dessin belliqueux du second mouvement rappelle la lutte des Tyroliens contre les troupesbavaroises, françaises et italiennes, l’instigation du combattant de la liberté Andreas Hofer (1767-1810). Enfin, on retrouve une mélodie de style choral qui évoque avec ferveur l’imposante beauté des paysages du Tyrol, et transmet la chaleur et le caractère jovial des habitants de cette région montagneuse. Tirol Terra Fortis n’est ni une reconstruction historique en musique (autrement dit, une œuvre programme), ni une œuvre politique. Son contenu repose sur une combinaison d’éléments factuels et culturels qui s’expriment travers une trame artistique très expressive. Le bugle a su conserver la fidélité des Orchestres d’Harmonie autrichiens. Intégré dans la texture orchestrale de cette œuvre de commande la demande expresse de la formation dédicataire, le bugle donne une couleur locale la composition et enrichit la large gamme des couleurs sonores de l’Orchestre d’Harmonie.

La Stadtmusikkapelle Wilten-Innsbruck (Austria) ha invitato il compositore belga Jan Van der Roost a scrivere un'opera per celebrare il bicentenario dell’Insorgenza tirolese, che ebbe luogo nel 1809. L'uso del flicorno, in particolare, conferisce al Tirol Terra Fortis il suo colore locale: questo bellissimo strumento si può sempre trovare nelle bande austriache.

SKU: CN.R10299

Holst's masterful military band orchestration of J.S. Bach's Organ Fugue in G Major BWV 577. Michael Brand's new edition expands/doubles some of Holst's original parts to make the piece playable by today's modern concert band.

When Holst was commissioned to write 'Hammersmith' for the BBC Wireless Military Band in 1928 he felt rather out of practice in orchestrating for the medium. For some years he had had the idea of arranging some Bach fugues for brass and military band so he set himself the task of scoring the Organ Fugue in G Major BWV 577 (from Preludes, Fugues and Fantasias). He, rather than Bach, called it 'Fugue a la Gigue.' The piece made an ideal exercise and Holst's brilliant dovetailing of the counterpoint between different instruments shows his mastery. The piece is technically demanding and the characteristic unison clarinet writing suggests the orchestral conception of a large wind ensemble rather than a band. It was this conception which the composer carried forward into 'Hammersmith.' 'Fugue a la Gigue' was published for military band in 1928 by Boosey & Hawkes and shortly afterwards for orchestra, but with only short scores, as was customary at the time. This edition has the full score of Holst's original orchestration with optional added parts for full concert band.

SKU: CF.CPS225F

ISBN 9781491153192. UPC: 680160910694.

Tartan Tapestries is an original piece that sets out to emulate Scottish folk music. Composer Larry Clark has created a concert overture in triple meter to capture the essence of music from Scotland. After a lilting first section,  lush and beautiful moments weave a tapestry of sounds with the lyrical, middle section of the piece. There is an optional part for bagpipes, and an optional ending should you chose to use this instrument as part of the piece. Alert your contest music committee about this strong new piece for advancing groups.
Tartan Tapestries was commissioned by Friends of the Arts for the Saint Andrew's School Band in Boca Raton, Florida. The band program at Saint Andrew’s School is under the direction of Andrea Wolgin. The premiere took place on November 29, 2017.When I was asked by their conductor Ms. Wolgin to write a piece for the Saint Andrew’s School, I asked her what kind of involvement she wanted the students to have in the process. We discussed several options for having the students involved in the process of creating with the type of piece they wanted.  We set up a “Skype” meeting with members of the band to discuss the piece. During this discussion, the consensus of the students was that they wanted a piece depicting the Scottish influence to the school. They also wanted a piece that would challenge all sections of the band and to include bagpipes if possible. I asked that the students be involved in helping to name the piece once it was completed, for which they agreed and were very helpful. Armed with this information, I set out to compose a piece for them, and Tartan Tapestries is the result.The piece begins with a fanfare gesture based upon rhythms and harmonies that appear throughout the piece. I chose the lilting triple feel to the piece, to bring about the Scottish flavor. I wanted the fanfare to be bardic sounding, to depict the strength of the Scottish people and for the piece to have a dynamic opening. The fanfare contains material that alludes to the main theme and with a bit of dissonance and tension that is resolved in the main body of the piece.The main theme is a lilting original melody, but one that I hope with have the essence of Scottish folk songs. The main idea is followed by a more modal and dark sounding secondary theme, first stated in the horns. This material is later used in the development section of the piece. The main theme returns several times, with different and varied orchestrations and harmonic treatments. This is followed by a short transition leading to the more lyrical and slower second section of the piece. A transparent presentation of the lyrical theme, which is based on aspects of the main theme, is presented first by a solo flute. This section is a nod to famous composer Malcom Arnold’s wonderful works for orchestra in its style and orchestration. After a transition or bridge section with a solo euphonium, the piece builds to a dramatic climax of the lyrical theme by the full band. This subsides to a return of the solo flute to end this second section of the piece, followed by a transition back the main theme.The solo bagpipes play a central role in the return of the main theme and take center stage after being heard in the distance earlier in the work. The piece brings back a shortened version of the darker secondary theme, followed by a hint of the fanfare material that builds to one last statement of the main theme by the full band, before leading to a dramatic coda to complete the work.It has been my pleasure to have been given the opportunity to compose this piece for the Saint Andrew’s School Band! I thank Andrea Wolgin for making it happen, and I hope that you enjoy it as much as I have enjoyed bringing the piece to life.–Larry ClarkLakeland, Florida 2017.

SKU: CF.SPS78F

ISBN 9781491153239. UPC: 680160910731.

Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

SKU: HL.44012266

UPC: 888680057602. 9.0x12.0x0.965 inches. English-German-French-Dutch.

Fanfare for Tokyo is a flamboyant and extrovert concert opener designed to celebrate the virtuosic character of the talented Tokyo Wind Symphony Orchestra. A central theme over persistent percussion is first given by bassoons and taken up by the full ensemble. Either side of this horns and euphoniums lead an acrobatic fanfare under woodwind flourishes.

Fanfare for Tokyo is een uitbundig en extravert openingswerk. Het centrale thema, dat zich ontvouwt over aanhoudend slagwerk, verschijnt eerst in de fagotten en wordt dan overgenomen door het complete orkest. Daaromheen voeren de hoorns eneuphoniums een acrobatische fanfare uit, waarboven de houtinstrumenten fraaie versieringen spelen.

Fanfare for Tokyo ist ein schillerndes, extrovertiertes Eroffnungswerk. Das zentrale Thema, das sich uber dem durchlaufenden Schlagwerk entfaltet, erscheint erst in den Fagotten und wird dann vom gesamten Orchester aufgenommen. Darum herumspielen die Horner und Euphonien eine akrobatische Fanfare und die Holzblaser davor schone Verzierungen.

Parfaite pour ouvrir un concert, Fanfare for Tokyo est une piece exuberante et extravertie dont le theme central soutenu par une percussion tenace est introduit par les hautbois pour etre ensuite repris par l'orchestre entier. De part etd'autre de ce theme, les cors et les euphoniums exposent une fanfare acrobatique enrichie d'ornements interpretes les bois. Une piece qui permettra d'introduire chacun des pupitres de votre orchestre !

Perfetto per iniziare un concerto, Fanfare for Toyko e un brano esuberante e brioso il cui tema principale, sostenuto da una tenace percussione, e introdotto dagli oboi per poi essere ripreso dall'intero organico. Una fanfara, arricchita daabbellimenti interpretati dai legni, e esposta dai corni e dagli eufoni. Un brano che consente di mettere in luce ogni sezione della banda!