The Three Peaks - Die 3 Zinnen. Par DOSS THOMAS. The Three Peaks (Italian: Tre Cime di Lavaredo) are a prominent massif in the Dolomites on the border between the Italian provinces of Belluno in the south and South Tyrol in the north. The imposing rock formations formed over 200 million years ago and represent one of the most recognizable landmarks of the Dolomites and South Tyrol (I). Due to their exceptional beauty, the Dolomites with the Three Peaks are dignified as a UNESCO World Heritage Site since 2009. The ?call? of the Three Peaks attracts numerous visitors every year, who will experience an unforgettable and impressive spectacle of changing colors from cool gray to glowing red. The Three Peaks tower over the eventful contemporary history of Tyrol and South Tyrol like stone guardians. / Date parution : 2022-11-29/ Répertoire / Concert Band/Harmonie

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. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie

Par CONNERY BRIAN. This heroic march strives to capture the spirit in which young musicians make music. The stately and joyous introduction underlies this factor. Following the introduction a triumphal second theme tells us in music how this was accomplished. Through practise the band has reached its musical goal. Let your band take you on its triumphant tour. / Niveau : 1.5 / Marche / Répertoire / Concert Band ou Harmonie

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

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

Par WATKIN ANDREW. 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. / Niveau : 1.5 / Musique légère originale / Répertoire / Concert Band

Par WATKIN ANDREW. 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. / Niveau : 1.5 / Musique légère originale / Répertoire / Concert Band ou Harmonie

Prayer to the Power of Love. Par BORTNIANSKY DMITRY STEPANOVYCH. The Ukrainian Dmitri Bortniansky (1751-1825) received lessons at the local singing school in his hometown of Hlukhiv, and soon his extraordinary talent was recognised. He was somewhat of a child prodigy, writing his first opera at a young age. Following his studies Bortniansky was appointed court composer and Kapellmeister of the Imperial Chapel Choir. In the period that followed, he wrote - in addition to a number of operas, instrumental works, and a cycle of songs - more than a hundred religious works for a cappella choir, in which he combined Russian-orthodox and Ukrainian traditions with late 18th century European music. The appealing melody of Ich bete an die Macht derLiebe (Prayer to the Power of Love) became well-known, especially in Germany, in combination with German text by Gerhard Tersteegen. This arrangement by Michael Bilkes reflects the atmosphere of the original work very well. / Niveau : 2 / Hymnes et chorals / Répertoire / Concert Band ou Harmonie