For the project The Music of Kurt Weill, Peter Kleine Schaars rewrote a number of works by the German composer Kurt Weill (1900?1950) for the ?Dreigroschen-Orchester? (an occasional ensemble with the line-up that Weill had prescribed for his Kleine Dreigroschenmusik). Kleine Schaars became inspired by the three periods that characterize the life of Weill: he successively lived in Berlin, Paris and New York. Three Aspects of Kurt Weill (with the subtitle Drei Kurzweilige Impressionen) has one theme that comes forward in three totally different atmospheres, corresponding with the three mentioned periods. Movement one is a ?Berlin-tinted? protest march and parodies the fascist use of music. Movement two is a French musette (valse de Paris). Finally, the theme is featured in big band style in movement three: here, your ensemble transforms into a swinging Broadway band.

Par RODRIGO JOAQUIN. Ce morceau est un hommage à la célèbre Zarzuela ' La Tempranica ' par Gerónimo Giménez et traduit parfaitement l'esprit vif de cette forme d'opérette espagnole populaire avec sa popularité internationale croissante./ Répertoire / Ensemble à Vent

A 10-minute work which follows the journey of the Thames from its origins as a few drops of water in Wiltshire to the point where it meets the open sea. Along the way Hess draws upon many musical links along the Thames such as an old Wiltshire melody morris dancing in Oxfordshire boating songs from Berkshire.With such rich and diverse sources of music across several counties and centuries this has quite understandably become one of Hess's most popular wind band works to date.

These three short ‘pictures’ were inspired by several visits to a small part of the American East Coast an area which provides great extremes in the geography and the people.'Shelter Island' is a small island situated almost at the end of Long Island a few hours drive east of New York. In the summer it becomes a crowded tourist trap but in the winter it is gloriously deserted and bravely faces the onslaught of the turbulent Atlantic shrouded in sea mists and driving rain. In upstate New York lie 'The Catskills' Mountains an extraordinary combination of tranquillity and power peace and majesty. Once seen they call you back again and again.New York - or to be more precise Manhattan. For anyone who is familiar with this bizarre and wonderful city this ‘picture’ needs no explanation. For those not yet hooked here is a small foretaste of things to come!

Standard US Set (without european suppl. parts)-Commissioned by the Michigan State University Alumni Band this three movement work by Karel Husa was the winner of the first Louis Sudler International Wind Band Composition Competition in 1983. A note from thecomposer: 'Divided into three movements this work is a display of virtuoso passages given to solo instruments as well as to the groups of the ensemble. In the Fanfare of the first movement the Brass section concertises in groupsof four Brass quintets (2 Trumpets Horn Trombone and Tuba or Baritone) spread from left to right in back. The Saxophones (SATB) are placed in front of the Brass quintets and the Woodwinds occupy the front of the stage withPercussion on the left and right side. These groups like the Brass quintets play in the concertante style particularly in the first and last movements. 'At the same time each movement contains individual solo passages(for example Timpani and Flute in Movement I - Drum Ceremony and English Horn and other low Woodwinds in Movement II - Elegy). The composition of this piece was prompted by the excellence of Wind and Percussion players today andby the incredible growth of Wind ensembles orchestras and bands in the last 25 years. It is intended for their enjoyment.'

Par PAULUS STEPHEN. Un ajout incroyable du répertoire de la bande de niveau supérieur ! Un ouvreur de compteur mixtes pointilliste saisit votre attention suivie des motifs rythmiques ensemble urgent, excitation par percussion, surprenant tremolos de corne et laiton palpitante et interaction de bois. Un mouvement deuxième onirique prolongé présente des clarinettes de chalumeau unisson riche et chorals de laiton qui disparaissent et sortir, tout comme la lumière du soleil sur un pool de crystal prism ou de réflexion. Le mouvement final est rempli de travaux de passage rapide de laiton faible, comparé par des solos de clarinette, flûte et hautbois exotiques au fil des coups de poing staccato ensemble complet. Une incursion syncopée tourbillonnante termine le travail avec flair. Le travail commémore le 125e anniversaire du St. Olaf College./ Répertoire / Ensemble à Vent

Hymns For Private has been beautifully composed by Nico Muhly. This score and parts is the perfect addition to any wind ensembles collection that may be looking for something a little different.Hymns For Private was commissioned by Het Concertgebouw Amsterdam and Wigmore Hall London with the support of André Hoffmann President of the Fondation Hoffmann a Swiss grant-making foundation for the world premiere performances on April 13 14 18 and 19 2012.

Humoresque - Sextet for Flute Oboe English Horn Clarinet Bassson and Military Drum BVN 176 - was composed by Rued Langgaard in 1922-23.

Par HUET ESTELLE. Je consacre toujours les cinq premières minutes de mes cours à des jeux de formation de l'oreille que j'ai inventés. Ce rituel est un moment très précieux où l'élève se concentre, 'ouvre ses oreilles' et expérimente son instrument par de nouvelles approches. Ces jeux sont très appréciés des élèves et sont parus en 2019 sous la forme d'une méthode de violoncelle. Dans cette deuxième édition, je m'adresse à tous les professeurs de flûte traversière qui cherchent des outils pour aider leurs élèves à progresser et qui souhaitent diversifier leur cours en expérimentant de nouvelles méthodes. Des oreilles magiques est une méthode originale par de nombreux aspects : L'oralité L'élève ne voit jamais la méthode, qui fait uniquement appel à la transmission orale. Ainsi, l'élève fait vraiment jouer ses capacités auditives. L'apprentissage par le jeu Les jeux rendent le cours vivant et permettent de surmonter les difficultés en les abordant dans un contexte nouveau. La transdisciplinarité Cette méthode fait le lien entre le cours d'instrument et le cours de formation musicale, et permet de faire des progrès dans les deux disciplines. Une progression illimitée La plupart des jeux sont déclinés selon cinq niveaux progressifs. Chaque jeu proposé est faisable dès le premier cours de flûte et jusqu'aux plus hauts niveaux, et s'adresse aux enfants comme aux adultes. Le cinquième niveau est présenté sur un ton humoristique pour mettre en évidence le caractère illimité des progrès potentiels. Le lien avec le chant Cette méthode emploie le chant comme un outil central du travail de l'oreille. Tout au long des jeux, l'élève est incité à chanter pour développer son chant intérieur. Je vous souhaite beaucoup de réussite avec cette méthode, et suis certaine que vos élèves adopteront ces jeux avec autant de plaisir que les miens ! Estelle Huet/ Etude / Flûte Traversière

Flexible Woodwind Ensembl-This suite of folk songs is scored for woodwind quartet and a single unpitched drum. Although the nominal scoring is for flute two clarinets and bassoon the piece has considerable inbuilt flexibility of scoring. The options for instruments on each part are as follows: Part 1: Flute oboe or soprano saxophone Part 2: Bb Clarinet or alto saxophone Part 3: Bb clarinet alto saxophone or tenor saxophone Part 4: Bassoon bass clarinet or baritone saxophoneThe piece may be played by any combination of these instruments. Where necessary some passages have been transposed down an octave in the soprano alto and tenor saxophone parts.Where this occurs the lower pitch is also included in the score. There are also a few notes in the bass clarinet part of the March which have been taken up the octave through necessity; similarly this is indicated in the score.The drum should be unsnared and of medium low pitch. A bodhran tenor drum low tom-tom or floor tom are suggested although in the end it is up to the performer!The folk songs used in the piece are not particularly well known these days. 'Gan to the Kye' is an example of the rich culture of traditional music from Northumbria. The title means 'Go to the cows' and is a love song in which the herdsman asks his lover (in a gesture possibly lacking somewhat in romance) to accompany him whilst he tends his herd of cattle.The second movement is a setting of 'Rosemary Lane' a beautiful Somerset song. It tells of a serving girl ill-used by a sailor; as so often in traditional music the beauty of the tune is quite at odds with the unpleasant circumstances related.'Gently Johnny' is a good-humoured song in which the enthusiastic suitor is teased by the object of his affections: he is asked to cool his ardour whilst at the same time being left in no doubt that his attentions may be as bold as he wishes! The middle section uses another song this time from Middlesex called 'Jack Williams'.

Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a 'donkey” in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well. Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann André. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition./ Répertoire / Ensemble à Vent

Three Symphonic Sketches for Wind Orchestra, Op. 14. Par CESARINI FRANCO. À l?occasion du 30e anniversaire des Mosaici Bizantini, Franco Cesarini a décidé de publier cette version révisée. L'instrumentation a été enrichie par quelques instruments et la notation musicale complétement revue. L'?uvre est désormais disponible en partition grand format, exclusivement auprès de la maison d'édition du compositeur. Pour cette ?uvre de grande envergure, le compositeur s?est inspiré de trois mosaïques byzantines qu'on peut admirer dans les cathédrales de Venise et de Palerme. Les thèmes musicaux sont en grande partie empruntés à des mélodies grégoriennes. Les mosaïques en question sont des représentations des passages suivants de l?Évangile selon Matthieu : B>1. La Nativité 2. Le Temple de Jérusalem 3. L'Ange de la Résurrection Cette version révisée de ce chef-d'?uvre ravira à la fois l'orchestre et le public ! / Date parution : 2023-03-11/ Répertoire / Orchestre à Vents

Meridian comes very much out of the composer's love for ostinato or groove-based music. Other diverse influences include the World Music-infused jazz of Keith Jarrett and Jan Garbarek as well as the symphonies of Shostakovich. This exciting and creative work is written with a consistent rhythmic drive throughout and features a prominent role for Piano.